T  H  C 

UDSON-FULTOX 

RATION 

VI  C  M  I  X 

It 

ME   'HOFOLITAN! 

M          I'M 

0 

ART 

EXHIBI  TION 

VOLUME    I 

Digitized  by  the  Internet  Archive 
in  2013 


http://archive.org/details/fultoncelebration01metr 


THE 

HUDSON-FULTON 

CELEBRATION 


VOLUME    I 


THE 

HUDSON-FULTON 

CELEBRATION 

CATALOGUE 

OF    AN     EXHIBITION 

HELD     IN    THE 

METROPOLITAN    MUSEUM 

OF   ART 


VOLUME    I 


NEW    YORK 

SEPTEMBER    TO    NOVEMBER 

M     C     M     I     X 


COPYRIGHT  I  909 

BY  THE  METROPOLITAN  MUSEUM 

OF  ART 


CATALOGUE 

OF    A 

COLLECTION 

OF 

PAINTINGS 

BY 

DUTCH    MASTERS 

OF  THE 

SEVENTEENTH 

CENTURY 

BY 

W.   R.  VALENTINER 

N E W    YORK 

M     C     M     I     X 

THE 

HUDSON-FULTON  CELEBRATION 

COMMISSION 

PRESIDENT 

General  Stewart   L.  Woodford 

vice-presidents 
Herman   Ridder 
Andrew  Carnegie  John  E.  Parsons 

Joseph  H.  Choate  Horace  Porter 

M aj. -Gen.  F.  D.Grant, U.S.A.  Frederick  W.  Seward 
Seth  Low  Francis  Lynde  Stetson 

J.  Pierpont  Morgan  Oscar  S.  Straus 

Levi  P.  Morton  Wm.  B. Van  Rensselaer 

Alton  B.  Parker  Jas.  Grant  Wilson 

treasurer 
Isaac   N.  Seligman 

secretary  assistant  secretary 

Henry  W.  Sackett  Edward  Hagaman  Hall 


THE  COMMITTEE  ON  ART  EXHIBITS 
J.  Pierpont  Morgan 

GENERAL  CHAIRMAN,    ART  AND   HISTORICAL  COMMITTEE 

Robert  W.  de  Forest 

CHAIRMAN,    COMMITTEE   ON  ART   EXHIBITS 

Sir  C.  Purdon  Clarke  George  F.  Kunz 

George  A.  Hearn  Edward  Robinson 


THE  Loan  Exhibition  described  in  this  catalogue 
has  been  arranged  in  the  Metropolitan  Museum  of 
Art  as  a  part  of  the  Hudson-Fulton  Celebration, 
by  the  courtesy  of  the  Trustees  of  the  Museum,  and  with 
the  help  of  its  staff.  In  conformity  with  the  general  spirit 
of  the  celebration,  the  exhibition  consists  of  two  parts, 
one  commemorative  of  the  period  in  which  Henry  Hudson 
lived  and  the  country  under  whose  auspices  he  entered  the 
river  which  bears  his  name,  the  other  associated  with 
America  in  the  time  of  Robert  Fulton  and  his  predecessors. 
In  both  it  has  seemed  wise  to  the  Committee  in  charge 
that  this  Museum  should  confine  itself  to  its  proper  field  of 
art,  rather  than  to  attempt  an  historical  or  biographical 
display.  Therefore,  for  the  Hudson  section  advantage  has 
been  taken  of  the  opportunity  which  America  affords  to-day 
of  illustrating,  bv  original  examples,  the  great  art  of  the 
Dutch  painters  of  the  Seventeenth  Century;  and  for  the  Ful- 
ton section  a  representative  collection  has  been  brought 
together  illustrative  of  the  fine  arts  in  America  from  the 
Colonial  period  down  to  the  end  of  the  first  quarter  of  the 
Nineteenth  Century. 

The  following-named  collectors  have  contributed  to  the 
exhibition: 

To   the    Hudson    section:     The    New    York    Historical 


THE     HUDSON-FULTON      CELEBRATION 

Society,  the  Art  Institute  of  Chicago,  Thatcher  M.Adams, 
Benjamin  Altman,  William  T.  Blodgett,  M.  C.  D.  Borden, 
Charles  E.  Bushnell,  Hon.  William  A.  Clark,  Theodore 
M.  Davis,  W.  B.  Dickerman,  The  Elkins  Estate  of  Phila- 
delphia, Robert  W.  de  Forest,  Wilhelm  Funk,  Henry  C. 
Frick,  George  J.  Gould,  Mrs.  Henry  O.  Havemeyer,  Ferdi- 
nand Hermann,  Leon  Hirsch,  Mrs.  E.  C.  Hobson,  Sir 
William  van  Home,  Mrs.  Collis  P.  Huntington,  Charles 
L.  Hutchinson,  Mrs.  Morris  K.  Jesup,  John  G.  Johnson,  E. 
D.  Libhey,  Frank  G.  Logan,  J.  Pierpont  Morgan,  Rich- 
ard Mortimer,  James  Ross,  Charles  M.  Schwab,  Mrs.  John 
\V.  Simpson,  William  A.  Slater,  Charles  Stewart  Smith,  Her- 
bert S.  Terrell,  William  K.  Yanderbilt,  and  Peter  A.  B. 
Widener. 

To  the  Fulton  section:  Mrs.  W.  H.  Adams,  Mrs.  Chester 
Bidwell  Albree,  D.  Maitland  Armstrong,  Mrs.  Anson  P. 
Atterburv,  Samuel  P.  Avery,  Dr.  Edwin  A.  Barber,  Judge 
Peter  T.  Barlow,  F.  H.  Bigelow,  Dwight  Blaney,  H.  E. 
Bolles,  Richard  Canrield,  Mrs.  Elihu  Chauncey,  Judge  A. 
T.  Clearwater,  Mrs.  George  H.  Clements,  Mrs.  Wilmot 
Townsend  Cox,  Mrs.  Robert  W.  de  Forest,  Mrs.  F.  J.  de 
Pevster,  Alexander  W.  Drake,  Herbert  Dupuy,  Mrs.  Rich- 
ard S.  Ely,  G.  G.  Ernst,  John  Erving,  Sherman  Evarts,  Mrs. 
Hamilton  R.  Fairfax,  William  B.  Osgood  Field,  Harry 
Harkness  Flagler,  Mrs.  Robert  Ludlow  Fowler,  Hollis 
French,  Dr.  Horace  S.  Fuller,  R.  T.  Haines  Halsey,  Miss 
Nannie  Randolph  Heth,  Mrs.  Edward  Holbrook,  Mrs. 
William  H.  Howard,  W.  M.  Grinnell,  Ernest  F.  Hagen, 
Miss  Sarah  L.  Huntington,  Estate  of  Rev.  Wm.  R.  Hunt- 
ington, J.  Herbert  Johnson,  Miss  Dorothea  Keep,  Thomas 
H.  Kelly,  George  F.  Kunz,  Mrs.  Wm.  Camp  Lanman,  Mrs. 
Abraham  Lansing,  Wilford  R.Lawshe,  Luke  Vincent  Lock- 

vi 


THE     HUDSON-FULTON      CELEBRATION 

wood,  Robert  Fulton  Ludlow,  Dr.  I.  P.  Lyon,  Mrs.  Pierce 
Macdonald,  Mrs.  Richard  Worsam  Meade,  Dr.  Lewis 
Morris,  Miss  Frances  C.  Morse,  Miss  Mulford,  Mrs.  Alfred 
Nelson,  George  S.  Palmer,  Mrs.  Marsden  J.  Perry,  Misses 
Philipse,  F.  O.  Pierce,  Albert  Hastings  Pitkin,  Mrs.  W.  A. 
Putnam,  T.  M.  Oakley  Rhinelander,  Mrs.  Roger  M.  Sher- 
man, George  H.  Story,  Mrs.  Alice  Crary  Sutcliffe,  Trinity 
Church  Corporation,  Judge  Charles  H.  Truax,  Charles  M. 
Van  Kleeck,  Mrs.  Wm.  E.  Verplanck,  Wadsworth  Athe- 
naeum, Dr.  Faneuil  D.  Weisse,  Mrs.  Wm.  H.  Wentworth, 
Mrs.  Henry  Wharton,  Everett  P.  Wheeler. 

To  these  contributors,  representing  various  cities  in  the 
United  States  and  Canada,  and  to  those  who  have  carried 
on  the  work  of  selection  and  arrangement,  the  Committee 
desires  to  express  its  deep  obligation  and  its  recognition  of 
the  co-operation  which  has  resulted  in  producing  an  exhibi- 
tion of  the  highest  importance  to  all  lovers  of  the  fine  arts. 

J.  Pierpont  Morgan 

GENERAL  CHAIRMAN,   ART  AND    HISTORICAL  COMMITTEE 

Robert  W.  de  Forest 

CHAIRMAN,    COMMITTEE  ON  ART  EXHIBITS 

Sir  C.  Purdon  Clarke  George  F.  Kunz 

George  A.  Hearn  Edward  Robinson 

COMMITTEE  ON   ART   EXHIBITS  OF  THE 

HUDSON-FULTON  CELEBRATION  COMMISSION 


PAINTINGS     BY 
DUTCH     MASTERS 


PREFACE 

SO  representative  a  collection  of  Holland's  achieve- 
ment in  the  art  of  painting  during  the  Seventeenth 
Centurv  as  the  present  exhibition  affords  is  proof 
of  the  fortunate  acquisitions  made  in  this  direction  by 
American  collectors  in  recent  years.  Some  little  astonish- 
ment will  no  doubt  be  felt  in  European  art  circles  that  it 
was  possible  to  assemble  in  New  York  one  hundred  and  forty- 
nine  paintings  of  first  importance,  among  them  thirtv-seven 
Rembrandts,  twenty  Frans  Hals,  and  six  Yermeers.  Even 
so  the  supply  of  Dutch  masters  in  private  collections  is 
far  from  exhausted.  Two  large  private  collections  have 
made  no  contribution  to  the  exhibition,  and  from  others  only 
a  part  of  their  wealth  of  examples  could  be  chosen.  Only 
about  half,  therefore,  of  the  seventy  Rembrandts  now  in 
America  are  exhibited,  with  perhaps  two  thirds  of  the  works 
by  Frans  Hals,  Hobbema  and  Cuyp.  Of  the  seven  Yermeers 
in  this  country,  however,  we  have  been  so  fortunate  as  to 
secure  six,  and  the  work  of  Pieter  de  Hooch  is  with  two  ex- 
ceptions almost  completely  illustrated,  so  far  as  his  best  period 
is  concerned. 

In  assembling  the  exhibition  it  became  evident  that  Ameri- 
can collectors  evinced  marked  preference  for  certain  masters 

ix 


PRE  FACE 

and  classes  of  paintings.  The  art  of  portraiture,  in  particular, 
is  most  satisfyingly  illustrated  in  their  collections,  masters  like 
Rembrandt  and  Frans  Hals  being  almost  solely  represented 
by  portraits.  Among  landscape  painters  the  preference  is 
given  to  Hobbema  and  Cuyp.  Other  sides  of  Dutch  art  are 
not  so  popular  here:  there  are  comparatively  few  examples 
of  genre  subjects  by  masters  likeTerborch,  Metsu,  Jan  Steen, 
the  two  Ostades  ;  of  Biblical  subjects  (of  the  seventy  Rem- 
brandts  in  America  only  four  deal  with  this  theme);  of  still 
life  by  its  best  exponents,  and  of  the  work  of  several  animal 
and  landscape  painters  such  as  Adriaen  van  de  Velde,  Paul 
Potter,  Jan  van  der  Heyden,  Jan  van  de  Capelle  and  others. 
It  is  possible  that  the  exhibition  may  incite  art  lovers  to 
extend  their  collections  in  these  directions,  since  it  was  for- 
tunately possible,  through  the  kindness  of  several  gentlemen 
whose  collections  include  works  by  the  above-named  mas- 
ters, to  obtain  examples  by  them  for  the  exhibition. 

It  was  only  after  the  death  of  Hudson,  whose  life  was 
contemporaneous  with  the  period  of  Holland's  political 
development,  that  a  Dutch  school  of  painting  of  interna- 
tional significance  arose.  If  the  Dutch  paintings  shown  at 
the  Hudson-Fulton  Exhibition  are  the  fruit  of  the  succeeding 
fifty  years,  it  must  be  remembered  that  they  are  expressive 
of  the  ideas  of  Hudson's  contemporaries  who  in  achieving 
Holland's  political  freedom  made  this  expression  possible. 
It  was  only  on  the  favorable  issue  of  the  Lowland  wars, 
after  the  truce  with  Spain  in  1609,  that  the  nation  had 
time  and  opportunity  to  occupy  itself  with  the  aesthetic 
expression  of  its  newly  achieved  nationality.  That  there 
had  been  Dutch  painters  of  independent  character  since  the 
Fifteenth  Century  is  true,  but  Holland  at  that  time  was 
still  united  with  the  southern  Lowland  states,  belonged  to 


PREFACE 

the  empire  of  the  Habsburgs,  and  followed  in  artistic  expres- 
sion the  general  trend  of  central  European  culture.  In  the 
Sixteenth  Century,  with  Germany  and  Belgium,  it  fell  under 
the  influence  of  the  Italian  Renaissance,  and  the  interior 
discords  brought  about  at  the  end  of  the  century  a  cessation 
of  artistic  endeavor.  At  the  beginning  of  the  Seventeenth 
Century  Holland  had  apparently  not  yet  established  her  in- 
dependence, which  was  only  proclaimed  in  1648;  but  the 
Thirty  Years'  War,  which  had,  so  far  as  Holland  was  con- 
cerned, been  preceded  by  a  successful  war  of  fifty  years' 
duration,  had  in  her  case  no  destructive  effect.  The  nation 
could  already  turn  its  attention  completely  to  the  develop- 
ment of  an  inner  life,  though  the  art  of  this  period  fre- 
quently reflects  the  war  spirit  that  was  still  abroad  in  the 
land. 

The  golden  era  of  Dutch  painting  is  compressed  into  the 
brief  period  between  1625  and  1670,  although  three  genera- 
tions of  masters  lent  their  lustre  to  it — Frans  Hals,  born  in 
1584,  Rembrandt,  born  in  1606,  and  Jan  Vermeer,  born  in 
1632.  If  the  art  of  the  first  generation  flowered  late,  and 
that  of  the  third  had  an  early  close,  it  is  due  to  the  fact  that 
a  certain  period — about  two  decades  —  was  necessary  for  the 
development  and  establishment  of  a  national  art,  and  that 
in  1670  the  French  school  made  its  victorious  appearance, 
completely  submerging  the  native  painting.  Unusually  late 
was  Hals'  development,  and  Jan  Vermeer  died  early  in  1  677. 
In  this  manner  Rembrandt's  productive  era  embraces  almost 
completely  that  of  the  three  generations,  whose  art  but  for 
his  influence  could  never  have  attained  so  rich  a  development. 

Holland's  contribution,  during  this  golden  age,  to  the 
universal  progress  of  painting  lay  primarily  in  the  fact 
that  she  freed  it  from   its   dependence  upon  the    Church, 

xi 


PREFACE 


and  originated  a  series  of  new  types  which  have  since 
become  common  to  all  nations.  Until  that  period  the 
painter  had  occupied  himself  chiefly  with  the  production 
of  altarpieces  and  paintings  which  were  intended  to  exert 
a  religious  influence  upon  the  spectator.  The  Dutch 
Church,  however,  no  longer  wished  for  pictures,  so  it  de- 
volved upon  the  artist  to  originate  his  own  theme  or  to 
procure  it  from  some  private  patron.  Paintings  were  now 
destined  for  the  decoration  of  private  houses,  and  conse- 
quently assumed  a  less  unwieldy  form.  In  the  place  of 
altarpieces  or  wall  paintings,  easel  pictures  came  into  vogue. 
It  was  natural,  too,  that  a  reaction  should  take  place  against 
all  forms  of  the  idealism  of  which,  until  that  time,  at  least 
a  pretense  had  been  made.  Artists  began  to  reproduce 
simplv  what  they  observed  in  nature  around  them,  and 
their  patrons  were  content  to  hang  on  their  walls  a  landscape 
or  a  street  scene  such  as  they  were  familiar  with  in  their 
daily  life.  The  simple  realism,  closely  following  the  chosen 
model,  was  natural  to  the  Dutch  people,  whose  strength  lay 
less  in  their  imagination  than  in  their  powers  of  close  ob- 
servation. In  this  manner  were  inaugurated  the  various 
types  of  paintings  as  we  now  know  them  —  landscapes, 
genre  subjects,  still  life,  and  portraits.  Of  these  only  por- 
traiture had  before  enjoyed  an  independent  existence,  and 
even  then  frequently  in  connection  with  religious  subjects. 
The  highest  achievements  of  Dutch  art  are  confined  to 
paintings  of  the  above  types — which  are  those  represented 
by  the  pictures  of  this  exhibition.  The  portrayal  of  reli- 
gious subjects  fell  almost  altogether  into  abeyance,  Rem- 
brandt being  their  only  exponent,  although  his  deeply 
spiritual  conception  compensates  for  any  apparent  lack  of 
inspiration  among  his  contemporaries. 

xii 


PREFACE 

In  addition  to  his  realism,  the  Dutch  artist  is  character- 
ized by  a  strong  feeling  for  color  and  a  peculiarly  keen 
observance  of  the  play  of  light  and  shadow.  He  rejects, 
as  a  rule,  the  rich  variations  of  local  coloring,  pitching  his 
composition  in  one  or  few  tones.  A  glance  over  the  exhibi- 
tion convinces  one  of  this  sparing  use  of  the  more  lively 
colors;  here  and  there  perhaps  one  at  most  appears.  The 
silvery-gray  tones  so  exquisitely  rendered  during  the  Hals 
period,  or  the  golden  browns  characteristic  of  Rembrandt, 
predominate.  Within  this  restricted  scale,  however,  what 
rich,  what  subtile  gradations !  To  explain  this  preference  for 
brown  and  gray  one  needs  but  to  recall  Dutch  scenery, 
which,  naturally  not  rich  in  color,  is  often  still  further 
dimmed  bv  the  mist  which  veils  it.  Then,  too,  dark  tones 
with  strong  contrasts  of  light  and  shade  were  characteristic 
of  the  Baroque  period,  and  a  love  of  dark  shadows  and 
monochrome  prevailed  in  all  other  European  countries  in 
the  Seventeenth  Centurv,  as  in  the  works  of  Salvator  Rosa, 
Murillo  and  Gaspar  Poussin.  The  depicting  of  the  play  of 
light  and  shadow,  which  demands  a  certain  subduing  of  the 
color  scheme,  became  among  certain  Dutch  masters  the 
keynote  of  their  art.  This  is  true  of  Pieter  de  Hooch  and 
fan  Yermeer,  who  in  their  interiors  reproduced  marvelously 
the  play  of  light,  and  of  Rembrandt,  who  obtained  his  most 
poignant  shades  of  expression  through  its  medium.  The 
landscapists  were  especially  happv  in  their  delineation  of 
the  effect  of  sunlight  on  clouds:  Cuyp,  for  instance,  with  his 
love  for  the  golden  tones  of  evening,  and  Jan  van  Goyen  and 
Jacob  van  Ruisdael,  whose  clouds  drenched  in  silver  light 
seem  to  be  living  organisms.  Regarded  as  a  whole,  Dutch 
art  from  the  period  of  Frans  Hals  to  that  of  Rembrandt  de- 
veloped along  the  line   of  an    increasingly  individual   and 

xiii 


PREFACE 


spiritual  conception  of  nature.  The  works  of  Hals  and  his 
contemporaries  express  a  naive  and  momentary  impression, 
which  in  Rembrandt's  time  has  been  replaced  by  a  more 
thoughtful  and  contemplative  mood. 

The  period  of  Frans  Hals  is  represented  in  the  exhibi- 
tion by  twenty  works  from  the  master's  own  hand  and 
several  by  his  followers,  Jan  Verspronck,  Judith  Leyster, 
Dirk  Hals,  and  the  landscapists  of  the  period,  fan  van 
Goyen  and  Salomon  Ruysdael. 

Frans  Hals  was  the  son  of  stirring  times  which  are  re- 
flected both  in  his  life  and  in  his  art.  He  came  from 
Antwerp  and  brought  with  him  to  Haarlem  something  of 
the  Flemish  temperament.  On  his  arrival,  he  seems,  be- 
fore settling  down  to  work,  to  have  devoted  himself  for  some 
time  to  a  life  of  pleasure.  The  pictures  on  which  his  fame 
rests  seem  all  to  have  been  painted  after  his  thirty-fifth  or 
fortieth  year.  He  was  twice  married  and  had  several  chil- 
dren, whom  he  depicts  for  us  charmingly  in  his  genre  pic- 
tures. During  his  long  life  in  Haarlem,  he  became  the 
founder  of  an  important  school,  more  by  force  of  example 
than  by  any  methodical  instruction.  His  pictures  seem 
painted  in  a  passion  of  eagerness,  with  a  wonderfully  sure 
hand  :  impressions  of  a  moment,  hastily  seized  from  his 
restless  models  —  wild  youths  drinking  in  a  beer-shop,  chil- 
dren laughing  unrestrainedly  at  their  play,  above  all,  the 
industrious  burghers  still  eagerly  occupied  in  the  up- 
building of  their  nation.  The  expression  mirrored  in  the 
countenance  in  a  moment  of  passing  excitement  appealed 
to  him  particularly,  expressions  characteristic  of  a  people 
newly  attained  to  independence,  naive  pride,  defiance, 
triumph  or  wild  merriment.  At  the  same  time  his 
brush-work  displays  a  self-consciousness   and   individuality 

xiv 


PREFACE 

undreamed  of  by  any  earlier  artist.  He  was  the  most 
"  modern  "  of  his  time,  knowing  that  by  his  fluid,  sketch- 
like brush-strokes  he  obtained  a  mobility  and  animation 
never  before  reached,  and  realizing  that  his  colors  seemed 
thereby  more  luminous  and  deeper. 

Frans  Hals  is  probably  more  fully  represented  in  America 
than  any  other  Dutch  artist.  The  works  here  exhibited 
show  him  at  his  best,  for  almost  all  of  them  date  from  his 
most  felicitous  period,  from  1635  to  1655,  and  have  neither 
the  hard  dryness  or  his  earlier  style,  nor  the  black  shadows 
or  his  later  work.  Hals  seldom  again  displayed  the  mas- 
tery exhibited  in  the  "  Portrait  of  an  Artist,"  owned  by 
Mr.  Frick,  in  the  "  Heer  and  Vrouw  Bodolphe,"  owned  by 
Mr.  Morgan,  in  the  "  Portrait  of  a  Woman,"  in  the  pos- 
session ot  the  Museum,  and  the  "  Isabella  Coymans,"  from 
Mr.  Widener's  collection,  which  equal  any  of  his  best  works 
in  Haarlem.  The  same  freedom  and  spirit,  too,  are  displayed 
in  the  pictures  of  a  small  size  (the  portraits  of  clergymen  owned 
by  Sir  William  van  Home  and  Mr.  Borden,  and  Mr. 
Hutchinson's  "  Wilhem  Heythuysen"),  while  his  con- 
temporaries so  often  lost  themselves  in  details  in  similar 
works.  And  how  excellently  the  character  of  his  subjects 
is  expressed  in  their  pose!  While  his  fellow-artists  Miere- 
velt,  Ravesteyn,  Honthorst  and  Moreelse  constantly  repeat 
a  single  attitude,  the  three-quarter  view,  Hals  seems  to 
allow  his  model  to  pose  himself  at  will.  The  rather 
haughty  young  aristocrat  "Balthasar  Coymans,"  from  Mrs. 
Huntington's  collection,  rests  his  arm  nonchalantly  on  the 
arm  of  his  chair;  in  the  other  portrait  lent  by  Mrs.  Hunt- 
ington, a  man  with  a  strained,  nervous  countenance  clasps  his 
gloves  stiffly  to  his  breast,  while  the  preacher  Sibelius 
holds    his    right    hand    aloft    in    eloquent    gesture.      The 

xv 


PREFACE 

women,  whose  true,  domestic  natures  were  inimitably  por- 
trayed by  him,  are  shown  with  hands  crossed  comfortably 
on  their  lap.  And  what  unconstrained  merriment  his 
children  reveal!  Scarcely  another  painter,  even  Rembrandt 
himself,  has  portrayed  them  in  so  fresh  and  lifelike  a  manner. 
Mr.  Charles  S.  Smith's  and  Mr.  Libbey's  pictures  show 
this  side  of  his  art,  an  approach  toward  genre  painting  in 
portraiture. 

The  manner  in  which  his  style  was  modified  by  his 
pupils  is  shown  in  the  two  charming  pictures  by  Dirk 
Hals,  lent  by  Mr.  Morgan,  and  in  Judith  Leyster's  gaily 
colored  painting,  belonging  to  Mr.  Johnson.  The  same 
bright,  joyous  mood  is  there,  but  the  figures  are  on  a 
smaller  scale,  in  more  spacious  surroundings  and  depicted 
in  lively,  concerted  action.  In  temperament  and  brush- 
work  these  pictures  are  so  closely  allied  to  the  master  that 
their  former  attribution  to  him  is  easily  understood.  It  is 
indeed  only  of  recent  years  that  the  works  of  Judith  Leys- 
ter,  the  foremost  Dutch  woman  painter  and  wife  of  Jan 
M.  Molenaer,  a  pupil  of  Hals,  have  been  distinguished  from 
those  of  the  master  himself.  In  the  art  of  portraiture 
Jan  Verspronck  was  Hals'  most  worthy  follower,  and  his 
gracious  style  is  well  represented  by  the  painting  lent  by 
Mr.  Funk. 

The  same  simple  realism  with  which  Hals  portrayed 
his  contemporaries  was  brought  to  the  depicting  of  Dutch 
scenery  by  Jan  van  Goven  and  Salomon  Ruysdael,  who 
raised  the  art  of  landscape  painting  to  independence.  There 
exists  a  spiritual  relationship  between  these  two  masters, 
both  of  whom  choose  as  subjects  the  fiat  countryside  inter- 
sected by  canals,  the  lines  of  dunes,  a  view  of  open  sea  or 
frozen   canal.      Salomon  Ruysdael    has,    perhaps,   a   richer, 

xvi 


PREFACE 

more  lively  palette,  van  Goyen  tenderer  tone  gradations. 
It  was  a  great  innovation,  compared  with  the  old  school  of 
landscape  painting,  that  these  artists  dared  to  picture  a  low- 
lying,  level  horizon,  as  in  reality  it  appears  to  the  eye, 
lending  at  the  same  time  to  the  heavens  the  full  value  of 
their  height.  The  earlier  artists,  with  a  kind  of  bird's- 
eye  perspective,  had  covered  their  canvases  with  scenery, 
and  then,  fearing  that  that  alone  would  not  hold  the 
interest,  had  generally  added  numerous  brightly  colored 
figures.  Now  the  beauty  of  the  wide  Dutch  landscape 
began  to  be  felt,  and  its  exponents  relied  upon  the  close 
observation  and  portrayal  of  atmospheric  shades  to  relieve 
the  seeming  emptiness.  All  figures  were  subordinated  to 
the  general  color-scheme,  and  receded  before  the  pre- 
occupation with  nature.  In  the  two  paintings  loaned  by 
Senator  Clark,  and  the  one  owned  by  the  Museum,  van 
Goyen  is  shown  at  the  height  of  his  middle  and  later 
periods.  The  two  larger  paintings,  depicting  the  same 
scene,  the  town  of  Rhenen,  and  painted  ten  years  apart,  are 
still  in  the  brown  tones  of  the  thirties  and  forties,  while  the 
view  of  Dordrecht  has  the  silvery  tints  of  the  later  period. 
In  the  golden-brown  tones  of  the  two  large  woodland 
scenes  by  Salomon  Ruysdael  (in  the  Museum  and  in  the 
collection  of  Mrs.  Jessup)  the  influence  of  the  school  of 
Rembrandt  is  easily  discernible.  Salomon  Ruysdael  is  further 
charmingly  represented  by  some  rare  winter  scenes,  partic- 
ularly that  owned  by  Mr.  Widener.  In  this  connection 
mention  should  be  made  of  Aert  van  der  Neer,  an  artist 
who,  belonging  in  part  to  a  later  period,  confined  himself 
to  a  narrow  field  of  expression,  the  painting  of  moonlight, 
sunset  and  winter  scenes.  The  night  scene  belonging  to 
Mr.  Hermann  is  painted  in  an  exquisite  miniature-like  finish. 

xvii 


PREFACE 

The  most  prominent  place  in  the  exhihition  is  naturally  oc- 
cupied by  Rembrandt.  It  wouldseemimpossibleto  see  enough 
of  his  works  side  by  side,  for  hardly  another  master  in  the 
history  of  art  can  show  so  varied  a  development.  Through  four 
decades,  from  year  to  vear,  one  can  trace  his  ever  unfolding 
powers,  while  perhaps  no  one  else  has  depicted  so  diverse  a 
range  of  subjects.  He  was  the  one  Dutch  painter  who  at- 
tempted with  equal  success  all  forms  of  pictorial  represen- 
tation —  portraiture,  religious  and  historical  scenes,  genre, 
landscape  and  still  life  —  and  to  all  these  varied  types  he 
brought  his  richly  personal  point  of  view.  As  superficial 
mediums  of  his  art  one  notes  especially  the  contrast  of  light 
and  shadow,  the  emphasizing  of  some  special  feature  through 
a  light  falling  into  a  dark  room  ;  its  inner  strength  rests  on 
his  masterly  delineation  of  feeling,  for  which  this  mysterious 
and  concentrated  lighting  is  but  the  preparation.  He  is  one 
of  the  greatest  delineators  of  character  and  of  pathetic 
humanity;  and  is  related  therein  to  Shakespeare,  to  whom 
the  analysis  of  human  nature  with  all  its  shades  and  passions 
was  of  paramount  interest.  Rembrandt,  as  an  earnest,  slow- 
blooded  Dutchman,  naturally  occupied  himself  more  with 
the  portrayal  of  the  quieter  moods  than  with  violent 
manifestations  of  passion.  By  a  shade  of  expression  he  mir- 
rored on  the  countenance  the  innermost  feelings  of  the  soul, 
in  a  manner  satisfying  even  to  the  modern  psvchological 
standpoint  and  unique  in  earlier  art.  This  human,  touching 
side  of  his  art  makes  so  strong  an  appeal,  while  the  form 
is  of  such  technical  perfection,  that  one  asks  one's  self  at 
times,  Which  is  the  more  wonderful,  Rembrandt  the  artist, 
or  Rembrandt  the  man  ?  Through  his  interest  in  psychology, 
portraits  and  portrait  studies — studies,  that  is,  in  which  the 
model  seems  to  be  unconscious  of  observation  —  constitute 

xviii 


PREFACE 


the  greater  part  of  his  artistic  achievement.  They  embrace 
about  two  thirds  of  his  total  output  of  more  than  six  hundred 
and  fifty  pictures,  and  predominate  in  the  exhibition. 

There  are,  first  of  all,  a  series  of  self-portraits  representing 
the  artist  at  the  various  stages  of  his  career.  The  study  from 
the  collection  of  the  King  of  Belgium,  now  owned  by  Mr. 
Morgan,  and  the  pictures  of  Mr.  Libbey  and  Mr.  Logan 
show  him  with  smooth,  untroubled  countenance,  his 
blunt  features  suggesting  a  humble  origin,  but  already 
reflective  and  regarding  the  world  with  an  expression 
of  confidence.  The  last  two  paintings  date  from  the  period 
when  the  young  artist,  leaving  his  circumscribed  sur- 
roundings in  Leyden,  went  to  cosmopolitan  Amsterdam, 
where  fame  awaited  him.  The  portrait  from  Mr.  Terrell's 
collection,  painted  twelve  years  later,  depicts  the  artist  at  the 
pinnacle  of  his  fortunes  as  the  first  painter  of  Amsterdam. 
An  air  of  confident  distinction  has  replaced  the  hesitancy 
of  youth,  and  inner  content  and  the  congenial  exercise  of  his 
powers  are  expressed  in  his  bearing.  The  portrait  owned 
by  Mr.  Widener,  preeminent  in  its  coloring,  dates  from  the 
year  1650  and  denotes  in  the  slightly  saddened  expression 
the  change  that  had  taken  place  in  the  artist's  fortunes.  His 
fame  had  begun  to  diminish,  and  public  and  domestic  mis- 
fortune went  hand  in  hand,  but  the  glitter  of  splendid  color 
with  which  he  has  surrounded  himself  in  this  canvas  serves 
to  mitigate  the  bitter  expression  of  his  features.  Lastly,  there 
is  that  supreme,  much-lauded  work  belonging  to  Mr.  Frick, 
painted  in  the  year  when  through  his  bankruptcy  the  artist's 
social  position  was  shattered.  Seldom  has  an  artist,  arrayed 
in  such  humble  garments,  presented  more  consciously  and 
imposingly  his  true  majesty  to  the  eyes  of  the  world.  To 
the  society  which  will  no  longer  recognize  him  he  presents 


xix 


PREFACE 


a  countenance  of  royal  disdain  and  smiling  scorn,  expressed 
with  a  perfection  of  technique  as  simple  as  it  is  powerful. 
From  other  portraits  we  learn  of  Rembrandt's  family  life, 
for  he  was  of  an  essentially  domestic  nature,  and  his  devo- 
tion to  his  family  is  mirrored  in  their  eyes  as  painted  bv  him. 
The  portrait  of  Saskia  belonging  to  Mr.  Widener  is  full  of 
the  transfiguring  glow  of  the  first  years  of  their  married  life 
and  is  one  of  the  most  charming  ever  painted  bv  the  artist 
of  this  gracious  woman.  When  Saskia  died  in  1642,  Rem- 
brandt, after  some  years  of  solitude,  took  into  his  home  a 
girl  of  humble  origin  to  care  for  the  little  Titus,  his  son. 
This  was  Hendrickje  StofFels,  who  later  became  his  second 
wife.  It  might  be  possible  that  she  is  to  be  recognized  in 
the  portrait  from  the  Art  Institute  in  Chicago,  dated  1645, 
as  it  bears  a  resemblance  to  some  of  her  assured  portraits  of 
later  date.  She  was  a  simple  girl,  possiblv  an  orphan,  not 
as  accomplished  or  distinguished  as  Saskia,  but  possessed  of 
a  warm  heart,  and  was  a  true  helpmeet  to  the  artist  until 
her  early  death.  The  portrait  owned  bv  Mrs.  Huntington 
dates  from  the  period  of  her  illness,  fifteen  years  later.  A 
golden  evening  light,  like  a  dissolving  dream,  surrounds  her 
figure;  her  look  expresses  weariness,  but  the  pose  is  full  of  a 
touching  devotion  and  love.  Such  works  as  this  show  the 
remoteness  of  Rembrandt  from  Frans  Hals,  who  saw  onlv 
the  joyous  side  of  life,  and  understood  nothing  of  resigna- 
tion, pain,  or  the  feelings  which  lie  concealed  beneath  the 
surface.  After  her  death,  only  Titus  remained  to  his  father, 
and  to  this  son,  as  numerous  portraits  prove  (one  of  the  most 
beautiful  of  which  with  the  companion  portrait  of  his 
wife  is  lent  by  Mr.  Altman),  the  master  clung  with  touch- 
ing affection.  He,  too,  died,  a  vear  before  his  father,  having 
married  but  a  short  time  previously. 

xx 


PREFACE 


From  Rembrandt's  portraits  of  strangers  we  obtain  a  fur- 
ther insight  into  his  relations  with  the  outer  world.  We 
have,  in  the  first  place,  several  belonging  to  his  early  Am- 
sterdam period  (1631  — 1633),  those  belonging  to  Mrs.  J  essup 
and  the  Historical  Society,  the  important  anonymous  loan  and 
the  portrait  of  NicolaesRuts  owned  by  Mr.  Morgan,  in  which 
Rembrandt  has  given  us  clear  and  objective  likenesses  of  his 
sitters.  At  this  period  the  master  was  occupying  the  role 
of  fashionable  painter,  and  in  deference  to  the  wishes  ot  his 
patrons  and  in  his  own  interest  had  to  efface  much  of  his 
originality  of  temperament.  Nevertheless  these  simple 
paintings,  with  their  pregnant  characterization  and  intensity 
of  expression,  outrank  by  far  the  contemporaneous  works 
of  de  Keyser  and  Mierevelt,  though  frequently  similar  to 
them  in  arrangement.  During  the  following  three  or 
four  years,  occasionally  earlier,  in  works  where  he  had 
a  freer  hand,  this  suppressed  originality  of  temperament 
asserts  itself  strongly  in  the  vivacity  of  action  which 
he  lends  to  his  models.  This  was  the  period  when,  full  of 
the  confidence  of  a  young  conqueror,  he  wished  in  inten- 
sity and  animation  to  equal  the  works  of  Rubens  and  Frans 
Hals.  This  powerful  pathos  is  displayed  in  the  gorgeously 
colored  "Noble  Slav  "  from  the  W.  K.  Vanderbilt  collection, 
one  of  the  most  imposing  works  achieved  bv  him  during 
that  period.  In  another  painting,  dated  1634,  belonging  to 
Mr.  Mortimer,  he  endeavors  to  heighten  the  expressiveness 
through  the  introduction  of  an  almost  genre-like  motive. 
This  preoccupation  with  the  dramatic  was  followed  in  the 
beginning  of  the  forties  by  a  period  of  inspired  quiet,  char- 
acterized by  a  rejection  of  all  exterior  effects,  and  illustrated 
bysuch  masterpieces  as  the  "Gilder"  and  the  "OldWoman" 
of  the  Havemeyer  collection,  works  which  in  technical  per- 


xxi 


PREFACE 

fection  and  the  manipulation  of  light  and  shadow  stand 
unsurpassed.  The  simple  conception  and  arrangement  of 
his  subjects,  which  he  had  affected  until  that  period,  was 
replaced  in  the  course  of  the  forties  by  a  poetic  and  inspired 
delineation.  The  pinnacle  of  this  style  was  reached 
about  16^0,  from  which  period  date  the  "Good  Samaritan" 
in  the  Louvre  and  "Daniel's  Vision"  in  Berlin.  To  this 
period  belong  the  two  portraits  of  artists  owned  by  Mr. 
Frick  and  Mr.  Morgan,  and  Mrs.  Huntington's  portrait  of 
a  savant,  works  to  which  the  master  has  lent  so  great  a  part 
of  his  own  romantic  sensibilities,  or  discerned  so  much  in 
his  subjects,  that  we  may  well  ascribe  poetic  gifts  to  these 
possibly  simple  natures. 

During  the  fifties,  this  gracious,  poetic  mood  was  replaced 
by  one  of  touching  melancholy  and  reflectiveness,  especially 
in  the  studies  of  heads — the"01d  Man,"  lent  by  Mr.  Slater, 
for  example  —  which  were  perhaps  clearer  revelations  of  the 
artist's  soul  than  his  finished  works  ;  and  finally,  in  the  last 
decade,  a  resigned,  somewhat  rigid  earnestness  pervaded  his 
works,  which  were  clothed  in  broad  majesty  of  form.  In 
these  final  works  Rembrandt  rejected  all  elaboration  of  pose. 
The  figures  are  generally  depicted  facing  the  spectator ;  the 
artist  no  longer  seeks  to  make  the  attitude  expressive  of 
the  temperament  of  his  subject,  and  the  gaze  seems  veiled 
and  uniform.  But  some  secret  charm  resides  in  these  paint- 
ings. It  is  as  though  the  soul  imprisoned  in  gloomy  depths 
pursues  under  their  cover  a  far-away  and  mysterious  exist- 
ence. 

Rembrandt's  skill  in  composition  is  displayed  onlv  in  two 
or  three  works.  One  of  these,  however,  "  The  Finding  of 
Moses,"  is  splendidly  illustrative  of  his  gift  in  this  direction. 
Into  a  small  compass  he  has  compressed  a  work  of  Oriental 

xxii 


PREFACE 

fantasy  and  splendor.  The  figures,  in  themselves  of  no 
great  charm,  are  so  transfigured  by  the  lighting  and  the 
natural  beauty  of  the  scene  in  which  they  stand  that  they 
see  mto  us  like  some  tale  from  the  "Arabian  Nights."  Com- 
paring this  work  with  the  so-called  "Sibyl"  (Mr.  Davis) 
and  the  "Lucretia"  (Mr.  Borden)  of  thirty  years  later,  one 
scarcely  recognizes  the  same  hand.  In  the  early  work  there 
is  still  an  echo  of  the  miniature-like  finish  of  the  Leyden 
school ;  in  the  later,  broad,  free  brush-work  and  directness 
of  representation,  concentration  on  one  figure,  it  might 
even  be  said,  on  the  expressive  features  which  sufficed  to 
relate  the  whole  story.  How  marvelously  the  sorrow,  the 
very  passing  of  the  soul,  is  portraved  in  Lucretia's  swim- 
ming eyes  and  slightly  opened  mouth,  and  how  secretive 
are  the  hidden  smiles  playing  over  the  shadowed  face  of  the 
Sibyl !  The  art  of  breathing  upon  what  was  in  itself  common- 
place the  divine  spirit  of  genius — for  in  both  these  pictures 
Rembrandt  made  use  ofevery-day  models — vet  not  depriv- 
ing them  of  the  sorrow  and  sympathy  which  go  to  make 
up  all  that  is  best  in  humanity,  is  the  onlv  link  between 
these  early  and  late  works. 

The  school  of  Rembrandt  is  represented  satisfactorily  by 
works  of  three  of  his  best  pupils — Philips  Koninck,  the  land- 
scapist,  Nicolaes  Maes,  the  genre  and  portrait  painter  and 
Ferdinand  Bol,  who  most  successfully  imitated  his  master 
in  his  early  portraits  like  in  the  painting  lent  by  Mr.  Davis. 
The  delightful  landscape  owned  by  Sir  William  van  Home 
shows  how  closely  Koninck's  work  was  related  to  that  of  the 
master  himself,  forming  a  link  in  the  chain  which  connects 
Rembrandt  with  the  great  English  masters,  Turner  and 
Constable.  He  has  the  concentrated,  glowing  light  of  the 
Rembrandt  pictures,  but,  contrary  to  the  master,  he  does  not 

xxiii 


PREFACE 


confine  himself  to  ideal  landscape,  depicting  the  flat  lowland 
scenery,  and  perfecting-,  as  van  Goyen's  successor  in  this 
field,  the  manner  of  that  earlier  master.  In  much  the  same 
manner  Maes,  through  lack  of  imaginative  power,  was  con- 
strained in  his  compositions  to  follow  realitv  much  more 
closelv  than  Rembrandt.  He  approached  him  more  nearlv 
in  his  earlv  works,  the  richly  colored  study  of  an  "Old 
Woman,"  owned  by  Mr.  Johnson,  for  example.  In  his 
later  period  he  fell  quite  under  the  influence  of  the  French 
school  and  seldom  again  attained  the  mastery  displaved  in 
the  portrait  lent  by  Mr.  Adams. 

It  seems  as  though  in  Rembrandt's  time  innumerable 
artists  of  prominence  arose  as  at  one  stroke,  surrounding  the 
master  like  a  following  of  nobles  about  their  chief.  The 
crowning  point  of  Dutch  art  was  reached  during  the  years 
16^0-1665.  It  was  during  this  period  that  almost  all  the 
masterpieces  of  Pieter  de  Hooch,  Meindert  Hobbema,  Jacob 
van  Ruisdael,  Jan  Vermeer,  Gerard  Terborch,  and  last, 
but  not  least,  a  great  part  of  those  of  Rembrandt  and 
the  aging  Frans  Hals,  were  painted.  All  the  masters  of 
this  period  strove  to  attain  a  more  highly  poetical  expres- 
sion in  so  far  as  their  characteristic  realism  permitted. 
The  fresh  realism  and  audacity  of  the  Hals  period  were 
replaced  by  the  contemplative,  quiet  and  more  spiritualized 
conception  of  a  quiet  civic  community  enjoying  the  fruits  of 
its  newly  won  peace.  Every  stratum  of  this  civic  society 
found  its  illustrator;  all  tvpes  of  painting  were  represented 
by  masters  of  first  merit.  Among  them  genre  subjects  should 
perhaps  receive  our  first  consideration. 

Gerard  Terborch  is  the  exponent  of  the  more  aristo- 
cratic circles  of  Dutch  society,  a  master  with  a  delicate 
color  sense  and   most   sensitive   hand.      The   portraits   lent 

xxiv 


PREFACE 

by  Senator  Clark  and  Mr.  Frick  are  examples  of  his  strange 
portraiture,  in  which  his  model,  cleverly  silhouetted  at  full 
length  and  in  small  proportion,  is  placed  in  spacious  sur- 
roundings ;  while  his  refined  and  distinguished  genre  paint- 
ing is  illustrated  by  the  works  lent  by  Messrs.  Borden  and 
Johnson.  In  the  latter  work,  one  of  his  masterpieces, 
Terborch  employs  a  motive  of  the  Frans  Hals  school,  the 
glorification  of  the  soldier's  life,  but  with  a  vast  difference 
from  those  older  and  rougher  pictures  with  their  studied 
arrangement  and  rude  technique.  Here  the  cool  gray 
tones  are  delicately  harmonized,  the  figures  surrounded  by 
tender  lights  and  shadows,  and  their  costumes  depicted  with 
an  exquisite  feeling  for  shimmering  surfaces. 

Gabriel  Metsu,  who  sought  his  subjects  among  the  mid- 
dle classes,  approaches  Terborch  in  refinement  of  execution 
and  charm  of  color.  His  artistic  development  was  very 
early.  At  fifteen  years  of  age  he  became  a  member  of  the 
Guild  of  Painters,  and  died  young.  This  youthfulness  is 
discernible  in  his  works.  They  have  a  fresh,  romantic 
swing,  that  is  often  a  little  too  impetuous,  for  instance  in 
the  picture  owned  by  the  Museum.  Metsu  affected  rich, 
fiery  colors  far  more  than  the  more  sedate,  cooler  Ter- 
borch. The  colors,  especially  the  red,  in  his  well-known 
masterpiece,  "  The  Visit  to  the  Nursery,"  formerly  in  the 
Kann  collection,  |now  owned  by  Mr.  Morgan,  are  extraor- 
dinarily luminous ;  in  fact,  the  whole  color-scheme  is 
deliciouslv  fresh  and  light.  The  story-telling  subject  in 
this  work  is  so  cleverly  chosen  and  graciously  executed 
that  few  Dutch  genre  pictures  can  be  compared  with  it. 
The  artist  is,  above  all,  animated  by  the  dramatic  spirit, 
and  is,  for  a  Dutchman,  of  an  unusually  emotional  nature. 

Pieter  de  Hooch,  the  third  great  portrayer  of  Dutch  life, 

xxv 


PREFACE 

is  of  a  slower,  more  earnest  temperament.  He  developed 
from  small  beginnings,  originally  painting  soldier  scenes  as 
did  Terborch,  and  his  art  early  lost  in  power,  partly,  no 
doubt,  as  a  result  of  the  narrow  circumstances  in  which  he 
lived.  He  was  a  valet  by  calling  and  painted  his  pic- 
tures for  a  few  guilders  without  receiving  much  recognition 
or  encouragement.  During  the  ten  years  of  his  best  period, 
however,  he  painted  works  which  rank  with  the  hnest 
achievements  of  Dutch  art.  He  is  exceedingly  well  illus- 
trated in  the  exhibition  by  tour  works  of  this  period,  three 
interiors  and  on'e  outdoor  scene.  Mr.  Borden's  picture 
alone  is  in  his  later  manner.  It  is,  however,  a  fine  example 
of  a  period  when  his  compositions,  drawn  from  more  aris- 
tocratic circles,  were  apt  to  be  overcrowded  and  were  some- 
what hard  and  black  in  the  shadows.  The  picture  lent  by 
Mrs.  Havemeyer  is  one  of  the  most  finished  works  of  the 
artist's  best  period,  unexcelled  in  its  warmth  and  glow  of 
color,  and  the  rendering  of  the  sunlight  which  floods  the 
room.  In  the  two  other  interiors,  Mr.  Blodgett's  and  Mr. 
Widener's,  he  has  introduced  a  double  play  of  light.  The 
bedroom  scene  lent  by  Mr.  Widener  shows  one  of  those 
charming  glimpses  of  courtyard  so  characteristic  of  de 
Hooch.  In  his  outdoor  scenes,  as  well  as  in  the  interiors, 
he  contents  himself  with  depicting  few  figures — -a  mother 
and  child,  for  instance,  in  which  his  own  wife  and  child 
may  be  recognized  — and  concentrates  all  his  art  in  render- 
ing the  play  of  light  and  shadow,  against  which  the  few 
colors  employed  in  the  costumes  stand  out  glowingly. 

In  conjunction  with  Terborch,  Metsu,  and  de  Hooch, 
who  may  be  termed  the  delineators  of  the  upper  classes 
of  society,  stand  Jan  Steen  and  the  two  Ostades,  who 
turned  their  attention  to  the  illustration  of  peasant  life  and 

xxvi 


PREFACE 

the  humbler  citizens.  Jan  Steen  is,  after  Rembrandt,  more 
richly  endowed  with  imagination  than  any  other  artist  of 
the  Dutch  school.  The  inventive  faculty  displayed  in  his 
works,  of  which  more  than  eight  hundred  survive,  seems 
inexhaustible.  His  is  a  nature  bubbling  over  with  high 
spirits,  delightful  humor  and  carelessness.  His  wealth  of 
fancies  reminds  one  of  the  Shakespearean  comedies,  to  which 
he  seems  unconsciously  to  have  supplied  illustrations.  His 
quick  manner  of  working  did  not  always  result  happily. 
Sometimes  he  fails  completely,  at  others  executes  works  of 
highest  perfection.  In  these  he  displays  himself  as  a  won- 
derful colorist,  tuning  his  composition  to  a  key  of  rich, 
glowing  color,  or,  more  in  the  manner  of  the  Dutch  school, 
harmonizing  it  delicately  in  one  tone.  Mr.  Johnson's 
"  Grace  Before  Meat,"  built  on  a  scale  of  delicate  gray  and 
pale  violet  harmonies,  is  an  example  of  this  latter  class  and 
shows  the  artist  in  the  role  of  an  earnest,  kindly  observer 
of  family  life.  Contrasted  with  this  picture  are  the  examples 
lent  by  Mr.  Widener  and  Mr.  Schwab,  showing  him  in  a 
mood  of  rollicking  abandon,  reveling  in  bright,  gay  color. 
It  is  remarkable  that  with  all  his  wealth  of  fancy  he  is  al- 
ways primarily  an  artist,  equaling  Terborch  in  his  rendering 
of  fabrics,  rivaling  van  Goyen  in  his  landscape  back- 
grounds, while  his  still  life  is  unexcelled  by  the  best  ex- 
ponents  of  that  form. 

In  inventive  faculty  the  Ostades  cannot  be  compared  to 
Jan  Steen.  Adriaen,  especially,  who  is  the  public's  favorite, 
repeats  over  and  over  again  his  comfortable,  round-headed, 
thick-nosed  peasants,  and  never  quite  shakes  himself  free  from 
a  somewhat  Philistine  atmosphere,  with  exception  of  his 
youth,  when,  in  imitation  of  Brouwer,  he  was  particularly 
exuberant  in  manner.      In    him    genius   is   replaced    by    a 

xxvii 


PREFACE 


loving  and  careful  execution;  he  pleases  through  his  choice 
of  winning  motives  and  the  cheerful,  peaceful  mood  to 
which  all  his  works  are  toned.  He  portrays,  as  a  rule,  the 
joys  of  family  life,  the  hlessings  or  labor,  or  occasionally 
the  conviviality  of  the  inn,  all  in  a  quiet,  temperate  mood, 
and  characterized  by  a  fine  feeling  for  color  and  close 
observation  of  the  interior  play  of  light.  The  two  pictures 
which  represent  him  in  the  exhibition  were  painted  thirty 
years  apart.  The  earlier,  belonging  to  the  Museum,  and, 
for  Ostade,  a  painting  of  unusually  large  compass,  was 
painted  during  the  period  of  his  transition  from  his  earlier 
style  to  one  arrived  at  under  the  influence  of  Rembrandt. 
The  figures  are  still  rough,  Brouwer-like  types  of  rude 
character,  but  a  rich  golden  tone  predominates  to  which  the 
local  color  is  subordinated,  and  there  is  a  concentrated, 
Rembrandt-like  fall  of  light. 

The  famous  painting  belonging  to  Mr.  Widener,  formerly 
in  the  collection  of  Lord  F.  Pelham  Clinton  Hope  (which 
was  peculiarly  rich  in  masterpieces  of  the  Dutch  school),  is 
a  late  work,  dated  1673,0116  of  the  latest  pictures  included 
in  the  exhibition,  and  belonging  in  reality  to  the  third  period 
of  Dutch  art.  It  has  the  cool  smooth  colors  —  a  fine  gray- 
blue  predominates  —  and  silvery  daylight  of  that  period. 
In  it  the  artist  displays  a  restrained  perfection  and  clever 
arrangement  of  the  few  figures,  which  are  rendered  with 
delicate  care  and  enamel-like  color. 

Adriaen's  younger  brother  Isack,  who  died  young,  was 
for  a  long  time  overshadowed  by  him.  He  is,  however, 
in  his  best  works  quite  equal  if  not  superior  to  his  elder 
brother.  He  naturally  does  not  display  so  varied  a  devel- 
opment as  was  attained  by  Adriaen  during  his  long  life. 
His  favorite  theme  is  a  traveler  halting  for  rest,  generally 

xxviii 


PREFACE 

on  a  country  road  and  with  a  white  horse.  He  also  painted 
very  successful  winter  scenes.  His  nature  is  more  poetic 
and  romantic  than  Adriaen's,  as  the  artistic  nature  of  the 
costumes  he  depicts  alone  would  demonstrate,  and  his  glow- 
ing, deep  gold  tones  are  more  closely  allied  to  the  Rem- 
brandt school.  His  art,  so  splendidly  represented  in 
England,  is  little  met  with  in  this  country.  There  are 
not  more  than  five  in  the  larger  collections,  a  big  winter  scene 
in  the  Hearn  collection  at  the  Museum  and  two  line  ex- 
amples belonging  to  Mr.  Johnson.  To  these  must  be 
added  the  two  paintings  exhibited,  belonging  to  Mr. 
Widener  and  Mr.  Blodgett,  both  in  his  best  manner.  The 
former  charms  us  by  its  flickering  play  of  afternoon  sun- 
light among  the  numerous  figures  on  the  village  street  and 
in  the  background  of  foliage,  while  that  of  Mr.  Blodgett, 
notable  for  its  clever  detail,  is  worked  out  with  a  spirited, 
playful  technique  in  brown  tones,  against  which  dashes  of 
color,  a  glowing  light  green  and  red,  stand  out. 

Landscape  painting,  too,  reached  in  Rembrandt's  period 
its  highest  perfection  at  the  hands  of  Jacob  van  Ruisdael, 
nephew  of  the  older  master  Salomon  Ruysdael,  and 
Meindert  Hobbema,  who  was  Ruisdael's  pupil.  A  worthy 
representation  of  these  masters  is  of  special  interest  in 
America,  showing  as  they  do  how  much  the  older  English 
masters  and  the  Barbizon  school,  both  so  well  represented 
in  this  country,  owe  to  their  inspiration. 

Jacob  van  Ruisdael  is  by  far  the  most  many-sided  of  the 
Dutch  landscapists,  bringing  to  a  riper  perfection  the  different 
types  of  landscape  essayed  by  the  masters  of  an  earlier  gener- 
ation—  lowland,  forest,  winter  scenes  and  marines.  Although 
more  varied  than  Hobbema,  he  scarcely  fascinates  us  so  much 
at  first  glance,  concealing  as  he  does  his  personality  behind 

xxix 


PREFACE 


the  strict  objectivity  or  his  studies  of  nature.  Then,  too,  the 
numerous  works  of  his  later  period,  the  waterfalls  and  north- 
erly mountain  landscapes  with  their  black,  shadows,  have 
detracted  from  his  fame.  The  artist,  who  nearly  starved  to 
death,  found  in  these  artificial  scenes,  which  were  popular 
with  the  public,  the  easiest  way  of  earning  his  bread.  A 
nearer  inspection  of  his  many  works  reveals,  however,  a 
powerful  if  retiring  individuality.  He  bows  before  the 
majesty  of  nature,  and  this  perception  of  her  mighty  forms 
is  visible  in  all  his  works  —  in  the  giant  tree-trunks  of  ancient 
woods,  in  the  soaring  cliffs  over  which  the  mountain  torrent 
precipitates  itself,  in  the  dark  clouds  massing  before  a  storm, 
or  in  the  far-reaching  lowlands  over  which  cloud  shadows 
are  hovering.  His  landscapes  are  all  touched  with  melan- 
choly. They  speak  of  the  past,  these  shattered  oak-trees, 
mountain  ruins  and  deserted  huts,  and  of  man's  subdual  at 
the  hands  of  the  elements,  showing  him  hurrying  through 
the  shadows  over  perilous  bridges,  or  in  the  dreary  depths  of 
the  forest,  with  an  eternally  frowning  sky  above  him.  His 
technique  is  of  a  solid,  consistent  texture,  more  worked  out 
than  Hobbema's  more  liquid  brush-work. 

Ruisdael  began  with  simple  pictures  of  the  country  around 
Haarlem,  a  couple  of  tree-shaded  cottages,  or  a  road  beside 
the  dunes,  more  or  less  in  the  manner  of  the  earlier  masters, 
but  characterized  from  the  first  by  greater  sharpness  of  detail, 
a  more  sculptural  feeling,  stronger  contrasts  of  light  and 
shadow,  and  more  sense  of  distance.  The  pictures  lent  by 
Mr.  Morgan  and  Mrs.  Simpson  are  excellent  examples  of 
this  early  manner.  Later  he  devoted  himself  chiefly  to  de- 
picting forest  scenery,  which  before  his  time  was  practically 
neglected.  In  such  pictures  he  necessarily  reveals  a  large 
part  of  his  own  poetic  nature,  for  Holland  and  especially  the 

XXX 


PREFACE 


neighborhood  of  Haarlem,  where  Ruisdael  lived,  is  but 
sparsely  wooded,  and  he  was  obliged  to  go  to  Guelderland 
and  towards  the  German  frontier  to  make  his  studies,  creat- 
ing his  compositions  upon  his  return  home.  The  works 
produced  during  the  sixties  show  an  especially  happy  union 
of  his  own  personality  with  the  impressions  he  absorbed. 
The  large  forest  scenes  owned  by  the  Museum,  Senator 
Clark  and  Mr.  de  Forest  belong  to  this  period,  as  do  the 
three  masterpieces  depicting  the  country  around  Haarlem, 
which  are  expressive  of  a  deeply  personal  mood:  the  "  Dunes 
near  Haarlem  "  (Mr.  Slater),  the  "Winter  Landscape"  (Mr. 
Johnson),  which  is  one  of  the  most  beautiful  landscapes  of 
the  Dutch  school,  and  the  stormy  sea  owned  by  Mr.  Ross. 
Towards  the  end  of  the  sixties,  the  artist,  in  an  effort  to  render 
his  work  still  more  effective,  became  interested  in  mountain 
scenery,  with  which  he  himself  was  almost  totally  unfamiliar, 
knowing  it  only  through  sketches  made  by  his  teacher, 
Allaert  van  Everdingen,  who  had  visited  Norway.  One  is 
astounded  at  the  adaptability  and  imaginative  power  with 
which  Ruisdael  transplanted  himself  to  this  unknown  world, 
and  his  earlier  works  in  this  manner,  which  still  belong  to 
his  good  period,  are  thoroughly  real,  poetic  and  heroic 
in  character.  The  works  lent  by  Messrs.  Borden  and  Frick 
and  Mrs.  Huntington  come  under  this  category. 

Meindert  Hobbema,  who  in  his  early  development  was 
strongly  under  the  influence  of  Ruisdael,  stands  out  in  strong 
contrast  to  him.  His  temperament  was  cheerful  and  lively; 
he  seems  to  have  worked  more  quickly  than  Ruisdael,  and 
in  his  inspired  moods  painted  pictures  of  great  perfection. 
The  two  pictures  lent  by  Mr.  Morgan  may  be  numbered 
among  the  finest  landscapes  of  the  Dutch  school,  unsur- 
passed in  their  light  and  warmth   of   tone,  in  the  minutely 

xxxi 


PREFACE 

observed  play  of  light  and  shadow  in  the  foliage  and  varie- 
gated green  of  trees  and  grass.  Hohbema's  landscapes  have 
a  Sabbath-like  repose  and  beauty,  inviting  the  beholder  to 
transplant  himself  in  spirit  beneath  the  trees  of  their  shady, 
winding  walks.  Their  facility  of  execution,  too,  lends  to 
them  the  freshness  of  a  newly  painted  work.  The  artist 
confined  himself  to  a  restricted  field,  choosing  generally  an 
open,  wooded  landscape  crossed  by  a  small  sheet  of  water, 
a  mill-stream  or  a  couple  of  winding  paths,  and  generally 
repeating  the  same  arrangement — a  tall  group  of  trees 
whose  silhouette  is  balanced  on  the  other  side  by  a  smaller 
group  standing  farther  in  the  background,  so  that  there  re- 
sults as  upper  contour  a  flat  diagonal  curve,  typical  of  the 
Baroque  style.  This  diagonal  arrangement  was  employed 
by  van  Goyen  and  the  earlier  landscapists,  but  a  comparison 
with  Hohbema's  work  reveals  the  darker  side  of  the  picture 
as  much  emptier  in  their  case,  the  later  master  preoccupy- 
ing himself  more  with  the  filling  of  this  plane. 

fan  van  der  Heyden  stands  related  to  Aert  van  der  Neer,  an 
artist  of  the  foregoing  period,  in  the  similarity  of  their  con- 
ception, although  they  differed  widely  in  their  choice  of  subject 
— van  der  Heyden  restricting  himself  to  the  portrayal  of 
buildings  and  architectural  views.  Both  are  characterized 
by  a  typically  Dutch  love  of  detail,  to  the  delineation  of 
which  they  bring  as  much  love  and  interest  as  they  expend 
upon  the  larger  forms.  This  peculiarity  of  the  Dutch 
painters,  which  seems  consistent  with  the  smallness  of  their 
native  land  and  the  narrow  circumstances  in  which  most 
of  them  lived,  was  already  discernible  in  the  Fifteenth- 
Century  van  Eycks,  who  were  of  Dutch  origin,  and  in  the 
Seventeenth  Century  is  but  an  unconscious  perpetuation  of 
their   manner.      It  was   not  given  to   all    the    Dutch   artists 

xxxii 


PREFACE 

to  combine  this  care  for  detail  with  a  sure  feeling  for  the 
whole,  but  van  der  Heyden  was  among  the  fortunate  excep- 
tions. The  admirable  work  owned  by  Mr.  Davis  shows 
his  love  of  detail  in  the  perfecting  of  every  little  brick  in 
the  wall,  vet  he  by  no  means  sacrifices  the  general  harmony, 
presenting  a  firm,  well-balanced  architectural  composition. 
No  inconsiderable  part  of  the  happiest  achievements  in 
Dutch  landscape  painting  were  the  result  less  of  the  direct 
study  of  nature  than  of  the  yearning  to  depict  scenery  with 
which  the  artist  was  not  daily  familiar,  as  evinced  in  the 
portrayal  of  woodland  scenes.  In  this  manner  Cuyp  and  a 
whole  group  of  artists  painted  landscapes  of  an  Italian  char- 
acter through  their  longing  for  more  smiling  skies  which 
they  had  perhaps  never,  or  at  best  only  rleetingly,  known. 
This  very  personal  mood,  which  completely  pervades  Aelbert 
Cuyp's  pictures,  stands  very  close  to  our  modern  spirit. 
His  subjects  are  of  the  utmost  simplicity, often  even  prosaic — 
a  view  of  the  Maas  with  a  couple  of  sailboats  and  a  lofty 
sky,  or  a  meadow  with  cows  at  pasture.  But  these  wide, 
empty  spaces  are  a  domain  for  his  poetry  and  dreams.  He 
has  lost  sight  of  detail  and  of  the  material  side,  seeing  only 
the  irradiating  light  that  floods  this  modest  corner  of  the 
earth  with  a  golden  evening  glow,  transforming  it  into  a 
domain  of  happiness  and  peace.  His  art  is  a  lesson  in  mas- 
terly restraint.  All  his  life  long  the  artist  confined  himself 
to  painting  this  sunset  hour.  He  would  have  weajied  of 
it  soon  had  he  not  interwoven  in  the  scene  the  thousand 
transforming  moods  which  nature  then  wears,  lending  to  it 
an  inexhaustible  and  varying  charm.  What  a  contrast  be- 
tween the  wonderful  distance  in  the  view  of  the  Maas  lent 
by  Mr.  Frick,  and  the  homely,  narrow  dune  road  with  its 
snugly  nestling  village  in   the   little    picture   belonging   to 

xxxiii 


PREFACE 


observed  play  of  light  and  shadow  in  the  foliage  and  varie- 
gated green  of  trees  and  grass.  Hobbema's  landscapes  have 
a  Sabbath-like  repose  and  beauty,  inviting  the  beholder  to 
transplant  himself  in  spirit  beneath  the  trees  of  their  shadv, 
winding  walks.  Their  facility  of  execution,  too,  lends  to 
them  the  freshness  of  a  newlv  painted  work.  The  artist 
confined  himself  to  a  restricted  field,  choosing  generallv  an 
open,  wooded  landscape  crossed  by  a  small  sheet  of  water, 
a  mill-stream  or  a  couple  of  winding  paths,  and  generally 
repeating  the  same  arrangement  —  a  tall  group  of  trees 
whose  silhouette  is  balanced  on  the  other  side  by  a  smaller 
group  standing  farther  in  the  background,  so  that  there  re- 
sults as  upper  contour  a  flat  diagonal  curve,  typical  of  the 
Baroque  style.  This  diagonal  arrangement  was  employed 
by  van  Goven  and  the  earlier  landscapists,  but  a  comparison 
with  Hobbema's  work  reveals  the  darker  side  of  the  picture 
as  much  emptier  in  their  case,  the  later  master  preoccupv- 
ing  himself  more  with  the  filling  of  this  plane. 

fan  van  der  Heyden  stands  related  to  Aert  van  der  Neer,  an 
artist  of  the  foregoing  period,  in  the  similarity  of  their  con- 
ception, although  they  differed  widely  in  their  choice  of  subject 
—  van  der  Heyden  restricting  himself  to  the  portrayal  of 
buildings  and  architectural  views.  Both  are  characterized 
by  a  typically  Dutch  love  of  detail,  to  the  delineation  of 
which  they  bring  as  much  love  and  interest  as  they  expend 
upon  the  larger  forms.  This  peculiarity  of  the  Dutch 
painters,  which  seems  consistent  with  the  smallness  of  their 
native  land  and  the  narrow  circumstances  in  which  most 
of-  them  lived,  was  already  discernible  in  the  Fifteenth- 
Century  van  Kvcks,  who  were  of  Dutch  origin,  and  in  the 
Seventeenth  Century  is  but  an  unconscious  perpetuation  of 
their   manner.      It  was   not  given  to   all   the    Dutch   artists 

xxxii 


PREFACE 

to  combine  this  care  for  detail  with  a  sure  feeling  for  the 
whole,  but  van  der  Heyden  was  among  the  fortunate  excep- 
tions. The  admirable  work  owned  by  Mr.  Davis  shows 
his  love  of  detail  in  the  perfecting  of  every  little  brick  in 
the  wall,  yet  he  by  no  means  sacrifices  the  general  harmony, 
presenting  a  firm,  well-balanced  architectural  composition. 
No  inconsiderable  part  of  the  happiest  achievements  in 
Dutch  landscape  painting  were  the  result  less  of  the  direct 
study  of  nature  than  of  the  yearning  to  depict  scenery  with 
which  the  artist  was  not  daily  familiar,  as  evinced  in  the 
portrayal  of  woodland  scenes.  In  this  manner  Cuyp  and  a 
whole  group  of  artists  painted  landscapes  of  an  Italian  char- 
acter through  their  longing  for  more  smiling  skies  which 
they  had  perhaps  never,  or  at  best  only  fleetingly,  known. 
This  very  personal  mood,  which  completely  pervades  Aelbert 
Cuyp's  pictures,  stands  very  close  to  our  modern  spirit. 
His  subjectsare  of  the  utmost  simplicity, often  even  prosaic  — 
a  view  of  the  Maas  with  a  couple  of  sailboats  and  a  lofty 
sky,  or  a  meadow  with  cows  at  pasture.  But  these  wide, 
empty  spaces  are  a  domain  for  his  poetry  and  dreams.  He 
has  lost  sight  of  detail  and  of  the  material  side,  seeing  only 
the  irradiating  light  that  floods  this  modest  corner  of  the 
earth  with  a  golden  evening  glow,  transforming  it  into  a 
domain  of  happiness  and  peace.  His  art  is  a  lesson  in  mas- 
terly restraint.  All  his  life  long  the  artist  confined  himself 
to  painting  this  sunset  hour.  He  would  have  wearied  of 
it  soon  had  he  not  interwoven  in  the  scene  the  thousand 
transforming  moods  which  nature  then  wears,  lending  to  it 
an  inexhaustible  and  varying  charm.  What  a  contrast  be- 
tween the  wonderful  distance  in  the  view  of  the  Maas  lent 
by  Mr.  Frick,  and  the  homely,  narrow  dune  road  with  its 
snugly  nestling  village  in   the   little    picture   belonging   to 

xxxiii 


PREFACE 


Senator  Clark,  or,  again,  in  the  negligent,  admirably  placed 
group  of  fowls  in  Mr.  Johnson's  picture!  Cuvp  was  a 
dreamer  of  phlegmatic  temperament.  He  depicts  his  rig- 
ures  and  animals  reposing  in  harmony  with  their  silent, 
peaceful  surroundings.  His  shepherd  lads  are  at  rest,  the 
cattle  idly  grazing,  the  rider  halts  tor  repose.  Still  life  was 
therefore  a  natural  held  tor  his  powers,  although,  unlike 
the  other  still-lite  painters,  he  pitches  his  whole  composi- 
tion in  one  tone,  as  exemplified  in  Mr.  Johnson's  picture, 
the  still  life  with  "Peaches."  His  development  was  slow, 
but  marked  by  distinct  stages  which  may  be  followed  in  the 
pictures  here  exhibited.  His  early  landscapes  are  reminis- 
cent ot  van  Goyen.  He  painted  lowland  scenes  in  pale 
colors,  which,  however,  in  their  harmonious  simplicity, 
already  excel  those  of  the  older  master.  The  charming 
"Village  on  the  Dunes,"  belonging  to  Senator  Clark, 
and  Mrs.  Huntington's  "Piping  Shepherd"  belong  to 
this  period.  The  middle  period,  in  which  he  produced 
his  masterpieces,  is  represented  by  the  landscapes  lent  by 
Messrs.  Morgan,  Frick  and  Gould.  Later  he  shared  Ruis- 
dael's  dissatisfaction  with  his  native  scenery.  His  Southern 
skies  demanded  Southern  surroundings,  and  he  introduced 
cliffs  and  occasionally  fantastic  ruins  and  bridges  reminiscent 
of  the  Roman  Campagna.  The  picture  lent  by  Mrs.  Simp- 
son is  an  excellent  example  of  this  manner. 

Cuyp  is  generally  designated  as  a  cattle  painter,  in  com- 
pany with  Paul  Potter  and  Adriaen  van  de  Velde.  While 
Cuyp,  however,  characteristically  subordinates  his  cattle  to 
the  general  harmony  of  the  scene,  Potter  devotes  the  closest 
attention  to  each  animal,  neglecting  occasionally,  in  his 
love  of  detail  —  especially  in  his  larger  pictures  like  "The 
Bull"  at  The  Hague — to  observe  sufficiently  the  harmony 

xxxiv 


PREFACE 


of  the  whole.  He  studies  individualities  so  closely  that  he 
may  actually  be  termed  a  painter  of  animal  portraits,  de- 
picting marvelously  their  sculptural  quality  and  the  texture 
of  their  hides.  With  this  unbiased  rendering,  he  is  prob- 
ably more  sensitive  than  the  other  artists  of  his  time  to  the 
plein-air  effect  of  cattle  at  pasture.  This  is  well  shown  in 
the  admirable  painting  owned  by  Mrs.  Elkins  and  in 
Mr.  Hirsch's  cattle  scene,  which  is  a  smaller  variant  of  the 
Hague  "Bull." 

It  is  instructive  to  compare  with  Cuyp's  and  Potter's 
cattle  the  animals  by  Adriaen  van  de  Velde  shown  in  Mr. 
Johnson's  important  painting  and  the  bull  painted  by  this 
artist  in  Jan  van  der  Heyden's  street  scene  from  the 
collection  of  Mr.  Blodgett.  In  this  painting  Adriaen  van 
de  Velde  is,  above  all,  preoccupied  in  depicting  the  play  of 
light  on  the  silky  velvet  of  the  animal's  hide,  subordinating 
it  at  the  same  time,  with  more  suppleness  than  Potter  dis- 
played, to  the  general  scheme  of  the  painting.  He  was, 
in  fact,  the  most  adaptable  of  Dutch  animal  painters,  lend- 
ing his  gracious  art  to  the  enrichment  of  landscapes  by  other 
masters  and  attuning  his  contribution  in  an  invariably  just 
proportion  to  the  general  pictorial  scheme.  The  Holtord 
landscape  by  Hobbema,  owned  by  Mr.  Morgan,  with  cattle 
and  figures  by  van  de  Velde  in  the  foreground,  is  a  fine 
example  of  this  cooperation. 

Marine  painting,  so  important  for  our  exhibition,  hardly 
occupied  the  place  in  Dutch  art  that  the  role  played  by  the 
sea  in  the  nation's  life  would  seem  to  claim  for  it.  This  is 
perhaps  due  to  the  fact  that  most  of  the  artists  lived  in  Bin- 
nenland,  the  sea  being  there  too  near  at  hand,  perhaps,  to 
become,  as  did  mountain  scenery,  for  example,  the  object 
of  their  dreams.      We  miss,  too,  that  larger   mood  which 

xxxv 


P  R  ]•;  K  A  C  E 

wide  uninhabited  spaces  inspire  in  the  modern  spirit.  The 
love  of  detail  characteristic  of  the  Dutch  artist  led  him 
here  to  devote  a  penetrating  attention  to  each  individ- 
ual part  of  the  picture.  He  introduced,  if  the  spaces 
seemed  too  wide,  boats,  men,  or  a  glimpse  of  busy  shore,  all 
depicted  in  a  realistic,  unimpassioned  manner  that  does  not 
rise  above  actualities.  Real  marines  are  rare.  In  most  of 
the  so-called  sea  pictures  there  is  a  glimpse  of  land  on  one 
side  or  the  other,  or  in  the  background,  suggesting  that  the 
subject  may  be  some  broad  Dutch  canal,  a  glimpse  of  the 
Maas  or  of  the  Zuyder  Zee.  The  ocean's  stormy  moods, 
which  found  in  Rubens'  impressionable  Flemish  tempera- 
ment so  tine  an  exponent,  were  alien  to  the  quiet,  placid 
Dutch  nature.  With  one  notable  exception,  Jacob  van  Ruis- 
dael,  Dutch  painters  all  present  the  ocean  in  its  moments 
of  placid  calm,  with  a  somewhat  concentrated  light,  more 
reminiscent,  occasionally,  of  an  interior  than  of  the  out- 
doors. 

Simon  de  Vlieger,  of  the  older  generation  of  Frans  Hals 
and  van  Goyen,  is  represented  by  a  little  picture  belonging 
to  the  Museum,  which  has  the  silvery-gray  tones  and  line 
atmospheric  shading  of  those  earlier  masters.  From  this 
simple  realism  developed  the  art  of  Jan  van  de  Capelle 
and  Willem  van  de  Yelde  the  younger,  the  two  most  fa- 
mous Dutch  sea  painters.  To  these  the  name  of  Jacob  van 
Ruisdael  should  be  added  by  right  of  his  tew  noteworthy 
presentations  of  storm  scenes. 

Willem  van  de  Velde  received  commissions  from  the 
British  Government  to  paint  battle-ships  or  pictures  com- 
memorative of  sea  fights,  and  from  this  work  adopted  at 
times  a  hard,  accurate  style,  even  in  his  original  composi- 
tions.     His  two   exhibited   works  (Mr.  Borden's   and   Mr. 

xxxvi 


PREFACE 

Blodgett's)  show  him  at  his  best.  The  color-scale  is  much 
enriched  since  de  \Tlieger's  time,  and  the  little  coast  scene 
lent  by  Mr.  Blodgett  expresses  a  more  inspired  mood. 

Jan  van  de  Capelle  is  preeminently  a  master  of  original 
genius.  He  seems  to  have  been  the  first  to  recognize  the 
fascination  of  the  ocean's  endless  spaces  and  the  poetry  of 
its  sunset  hour.  The  Dutch  marine  painters,  like  the  land- 
scapists,  laid  the  foundations  for  the  ensuing  development 
of  their  art.  x*\s  the  distant  views  of  the  Rembrandt  period 
foreshadow  Constable,  and  Hobbema's  forest  scenes  Crome 
and  Rousseau,  Jan  van  de  Capelle  and  Ruisdael,  in  their 
marine  pictures,  are  the  forerunners  of  Turner,  although 
in  the  later  masters,  in  harmony  with  the  general  artistic 
trend  of  their  period,  we  find  a  more  subjective  mood. 

No  picture  of  Dutch  art  would  be  complete  did  it  not 
include  examples  of  still  lite,  in  which  direction,  also, 
Holland  laid  the  foundations  for  succeeding  genera- 
tions to  build  upon;  in  this  case  more  for  the  French  mas- 
ters of  the  Eighteenth  and  Nineteenth  Centuries,  from 
Chardin  to  Courbet  and  Manet,  than  for  their  English 
confreres.  Still-lite  pictures  do  not,  as  a  rule,  stand  high 
in  public  favor.  Perhaps  their  significance  may  receive 
fuller  recognition,  when  expressed  by  masters  ot  such  ge- 
nius as  Rembrandt  in  the  "  Slaughtered  Ox"  (Mr.  Johnson) 
and  in  Cuyp's  still  life  with  "Peaches"  (Mr.  John- 
son), which  latter  seems  prophetic  ot  Courbet's  work. 
To  these  are  added  works  by  two  painters,  Willem  Kalf 
and  Abraham  van  Beyeren,  who  have  obtained  recognition 
only  of  recent  years.  Now,  however,  they  are  reckoned 
the  best  Dutch  exponents  of  still  life  and  are  ranked  with  Jan 
Davidsz  de  Heem,  the  earlier  recognized  leader  in  this 
branch  of  art.      Kalflived  in  Delft,  a  town  which  sheltered 

xxxvii 


PREFACE 

some  of  the  greatest  Dutch  masters — Jan  Vermeer,  Karel 
Fabritius  and  Pieter  de  Hooch  among  the  number.  Like 
them,  he  was  more  preoccupied  than  most  oi~  his  contem- 
poraries in  the  skilful  contrasting  of  a  few  broadly  applied 
colors,  which  were  in  turn  subordinated  to  a  strongly  con- 
centrated lighting.  Like  them,  again,  he  rejected  all  petty 
detail,  and,  for  all  his  individuality,  allowed  himself  to  be 
strongly  influenced  by  Rembrandt.  This  influence  is  dis- 
cernible in  the  large  painting  lent  by  Mr.  Johnson,  which 
is  at  the  same  time,  in  the  color  and  in  the  treatment  of 
the  rug  and  the  porcelain,  reminiscent  of  Vermeer. 

While  Kalf  is  more  preoccupied  with  color  contrasts, 
van  Beyeren  is  a  master  of  tone  gradations.  In  the  fine 
painting  lent  by  Mrs.  Elkins  the  rich  profusion  of  objects 
portrayed  is  subordinated  to  a  brownish  red  color-scheme, 
which  in  a  single  instance  is  enhanced  by  a  touch  of  glow- 
ing red.  Van  Beyeren  did  not  confine  himself  exclusively 
to  still  life.  Within  recent  years  a  number  of  excellent 
marines  from  his  brush  have  come  to  light,  one  of  which  is 
in  a  private  collection  in  this  country. 

There  remains  now  for  our  consideration  but  fan 
Vermeer,  a  master  who  in  himself  alone  represents  a  whole 
period  in  the  history  of  Dutch  art.  He  is  a  remote  disciple 
of  Rembrandt  and  a  pupil  of  Karel  Fabritius.  His  chief 
period  of  production  falls  between  the  years  1656  and  1675, 
—  not  much  later,  therefore,  than  de  Hooch's,  Hobbema's 
and  Terborch's,  from  whom,  however,  he  is  divided  by  his 
more  progressive  style.  He  stands  alone  at  the  end  of  a 
period  of  high  achievement,  and  his  work  is  characterized 
by  the  subtlety  that  precedes  decay.  In  him  the  tremen- 
dous creative  power  of  the  foregoing  generation  of  masters 
is  a  little  reduced.    None  of  the  great  masters  previously  con- 

xxxviii 


PREFACE 

sidered  left  less  than  two  hundred  works,  Rembrandt  about  six 
hundred  and  fifty  ;  by  Vermeer,  however,  are  not  more  than 
thirty-six  known.  Then,  again,  his  whole  power  is  concen- 
trated in  obtaining  a  perfection  of  surface,  which  hitherto, 
through  absorption  in  the  matter  portrayed,  had  not  received 
this  close  attention.  In  this  Vermeer  approaches  the  French 
Eighteenth-Century  school,  which  had  its  origin  in  the 
same  influences  that  produced  him.  He  himself  fell  per- 
haps a  trifle  under  the  spell  of  contemporary  French  art, 
which  after  his  death  completely  submerged  the  Dutch 
school.  In  his  works  we  find  already  that  smooth  brush- 
work  and  love  for  cool,  clear  color  and  the  careful  model- 
ing which  the  later  academical  Dutchman  preached  as  all- 
important,  as  opposed  to  the  Rembrandt  conception.  In 
Vermeer's  work,  however,  all  this  is  still  artistically  trans- 
figured. At  a  first  glance  there  seems  to  be  nothing 
complex.  His  motives  are  of  the  utmost  simplicity,  differ- 
ing little  from  those  of  other  Dutch  genre  painters,  except 
in  a  heightened  simplicity.  In  most  cases  he  depicts  but 
one  figure  —  the  two  in  Mr.  Frick's  picture  are  excep- 
tional—  occupied  in  some  indifferent  manner  —  writing  a 
letter,  playing  the  guitar,  embroidering,  or  some  such 
thing.  And  these  figures  seem  arranged  according  to 
an  almost  invariable  scheme,  standing  always  in  front  of  a 
gray  wall,  near  a  window,  through  which  the  light  falls 
upon  them.  Some  dark  object  in  the  foreground,  a  table, 
chair  or  piece  of  drapery,  provides  the  necessary  contrast. 
The  color-scheme  is  equally  simple.  The  complementary 
colors  blue  and  yellow  are  almost  invariably  repeated 
against  the  neutral  gray  of  the  background.  And  yet 
these  pictures  are  of  a  far  more  penetrating  effectiveness 
than  any    other    Dutch    genre    paintings.      One    questions 

xxxix 


PREFACE 

wherein  this  superiority  lies;  one  cannot  help  trying  to 
solve  the  secret  ot  their  wonderful  art. 

Vermeer's  figures  wear  a  curious,  inexplicahle  expression, 
a  partly  veiled  smile  behind  a  sheen  or  light.  His  models 
are  unaffected,  plump-cheeked  Dutch  women,  not  even 
intelligent-looking,  unconsciously  placed  in  a  transfiguring 
atmosphere.  This  choice  of  expression,  apparently  simple, 
yet  full  of  subtlety,  presupposes  an  artist  who  had  the  great 
masters  Rembrandt  and  Hals  behind  him.  Frans  Hals 
portrayed  fresh  natural  merriment  with  infinite  realism  ; 
Rembrandt,  humanity's  deep-lying,  inward  griefs.  Ver- 
meer's figures  seem  to  lead  a  detached  existence,  apart  from 
joy  or  sorrow.  They  are  in  themselves  almost  expression- 
less, and  only  clothed  in  a  lovely  outward  sheen  which 
touches  their  simple  lite  with  mystery.  There  is  no  deep 
spirituality  in  this  art  as  in  Rembrandt's.  Its  perfection  is 
purely  aesthetic  and,  like  all  artificial  and  slightly  decadent 
art,  only  conceivable  within  certain  spiritual  limitations. 

The  wonderful  play  of  light  is  what  most  charms  the  eye 
in  Vermeer's  work.  It  is  different  from  that  ot  Rembrandt, 
in  which  it  found  its  inspiration.  This  light  is  diffuse  and 
permeates  the  whole  room  equally,  it  is  not  concentrated  like 
that  of  Rembrandt,  nor  does  it  impose  strong  contrasts.  In 
Vermeer's  early  work,  the  picture  lent  by  Mrs.  Hunting- 
ton, for  example,  when  he  was  still  frankly  under  the  in- 
fluence of  the  Rembrandt  school,  we  find  rugged  contrasts 
of  light  and  shade.  Later  the  dark,  contrasted  objects  in  the 
foreground  disappear,  and  the  light  loses  some  ot  its  golden 
warmth,  taking  on  the  silvery  sheen  ot  early  morning  light. 
The  seeming  nearness  of  the  figures  in  Vermeer's  work  forms 
a  curious  contrast  to  the  all-pervading  light.  He  must  have 
sat  very  close  to  his  model,  so  near   that  the  foremost  parts 

xl 


PREFACE 


seem  to  project  out  of  the  canvas,  heightening  thereby  the 
sculptural  effect.  This  plastic  feeling  is  further  accentuated 
by  an  extraordinarily  perfect  modeling  of  light  and  shadow, 
executed  with  a  care  so  minute  that  it  accounts  for  the  length 
of  time  devoted  by  the  master  to  each  canvas. 

In  manv  respects  Vermeer  has  more  of  the  modern  spirit 
than  most  of  his  contemporaries  —  in  the  painting  of 
shadows,  for  instance,  which  in  his  works  are  blue,  in  con- 
trast to  the  prevailing  brown.  His  color-scale,  too,  is 
unique  in  Dutch  art,  which  elsewhere  leans  towards  the 
warmer  tones,  enhancing  them  further  by  the  use  of  red. 
Vermeer's  preference  for  blue  has  probably  some  connection 
with  the  coloring  of  Delft  porcelain,  of  which  his  some- 
what glassv  technique  is  suggestive,  calling  to  mind  the 
tradition  that  he  occasionally  turned  his  attention  to  this 
industry.  Not  the  smallest  part  of  the  charm  of  his  work 
lies  in  the  wonderfully  perfect  arrangement  of  the  few  colors 
he  employs,  and  the  manner  in  which  these  are  blended  to 
a  perfect  harmony.  He  is  unique,  too,  in  his  rejection  of 
all  the  detail  in  which  contemporary  genre  painters  de- 
lighted. Compared  with  their  work,  his  canvases  with  their 
tew  large  surfaces  seem  empty,  but  the  little  there  depicted 
presents  in  its  exquisite  proportions  an  absolutely  harmo- 
nious whole.  Simplicity  and  conviction,  too,  which  char- 
acterize all  truly  great  work,  are  not  lacking  in  his. 

The  pictures  exhibited  are  most  satisfactory  examples  of 
Vermeer's  art.  There  is  small  variation  of  style  in  the 
short  series.  His  first  period,  examples  of  which  are  also  in 
Dresden,  Glasgow  and  Budapest,  is  represented  in  Mr. 
Altman's  painting;  and  as  previously  remarked,  Mrs.  Hunt- 
ington's picture  seems  to  be  a  comparatively  early  work.  Mr. 
Johnson's  is  later,  differing  in  the  larger  scale  of  the  figures. 

xli 


PREFACE 

The  other  three  pictures  were  probably  painted  during  the 
intervening  period. 

In  surveying  the  artistic  achievements  of  the  thirty  years, 
during  which  period  all  the  works  here  exhibited  were 
painted,  one  is  astounded  at  the  number  of  rarely  gifted 
masters  who  arose  in  Holland  during  this  short  time  ;  at  the 
variety  of  types  originated  by  them  for  the  enrichment  of 
future  generations ;  at  the  quick  development  and  at  the 
sudden  decay.  There  did  not  exist  several  schools,  as  in 
Italy,  for  instance,  forming  individual  centers  of  artistic 
activity  ;  the  country  was  too  small  for  that,  the  towns  lay 
too  close  together,  and  the  restless  artist  folk  lived  first  in 
one,  then  in  another.  It  might  be  described  as  a  number 
of  great  personalities  dominating  the  art  of  the  country  and 
rallying  around  them  little  groups  of  minor  masters.  And 
finally  it  became  one  personality  alone  to  whom  all  others 
were  subordinated — Rembrandt.  That  the  traces  of  his 
genius  are  everywhere  to  be  found  lends,  in  spite  of 
numerous  strong  individualities,  a  species  of  unity  to  the 
art  of  the  entire  period. 

This  flowering  of  the  country's  genius  is  visible  in  the 
industrial  arts  of  the  period,  as  well  as  in  the  paintings  which 
were  its  choicest  blossoms.  The  gold  and  silver  smiths  of 
the  period  modeled  vessels  with  the  strong  Baroque  feeling 
for  light  and  shadow,  emulating  the  painters  from  whom  they 
drew  their  inspiration.  One  recalls  Rembrandt's  relations 
with  the  famous  goldsmiths  Lutma  and  Eeckhout.  The 
Delft  faience  industry,  which  was  started  in  imitation  of  the 
Chinese  porcelains,  became  shortly  the  most  famous  Euro- 
pean ware  of  the  period,  unsurpassed  in  the  beauty  of  its 
glaze  and  the  depth  of  its  color  ;  while  the  furniture,  with 
its    broad,    solid    lines,    was    expressive    of     the    comfort- 

xlii 


PREFACE 


able   Dutch  homes,  and  influenced  English  and  American 
furniture. 

It  is  this  richness  cf  inner  development  which,  combined 
with  political  and  commercial  strength,  won  for  Holland  a 
position  of  universal  importance  among  European  powers 
in  the  Seventeenth  Century,  and  enabled  her  to  give  from 
her  own  abundance  to  other  lands,  America  in  particular. 
And  these  elements  were  the  fruits  of  the  highest  period  of 
Dutch  culture,  born  of  a  nation's  successful  struggle  for  in- 
dependence. 


PREFACE 


The  other  three  pictures  were  probahlv  painted  during  the 
intervening  period. 

In  surveying  the  artistic  achievements  of  the  thirty  years, 
during  which  period  all  the  works  here  exhibited  were 
painted,  one  is  astounded  at  the  number  of  rarely  gifted 
masters  who  arose  in  Holland  during  this  short  time  ;  at  the 
variety  ot  types  originated  by  them  for  the  enrichment  of 
future  generations  ;  at  the  quick  development  and  at  the 
sudden  decay.  There  did  not  exist  several  schools,  as  in 
Italy,  tor  instance,  forming  individual  centers  of  artistic 
activity  ;  the  country  was  too  small  for  that,  the  towns  lay 
too  close  together,  and  the  restless  artist  folk  lived  first  in 
one,  then  in  another.  It  might  be  described  as  a  number 
of  great  personalities  dominating  the  art  of  the  country  and 
rallying  around  them  little  groups  of  minor  masters.  And 
finally  it  became  one  personality  alone  to  whom  all  others 
were  subordinated — Rembrandt.  That  the  traces  of  his 
genius  are  everywhere  to  be  found  lends,  in  spite  of 
numerous  strong  individualities,  a  species  of  unity  to  the 
art  of  the  entire  period. 

This  flowering  of  the  country's  genius  is  visible  in  the 
industrial  arts  of  the  period,  as  well  as  in  the  paintings  which 
were  its  choicest  blossoms.  The  gold  and  silver  smiths  ot 
the  period  modeled  vessels  with  the  strong  Baroque  feeling 
for  light  and  shadow,  emulating  the  painters  from  whom  they 
drew  their  inspiration.  One  recalls  Rembrandt's  relations 
with  the  famous  goldsmiths  Lutma  and  Eeckhout.  The 
Delft  faience  industry,  which  was  started  in  imitation  of  the 
Chinese  porcelains,  became  shortly  the  most  famous  Euro- 
pean ware  of  the  period,  unsurpassed  in  the  beauty  ot  its 
glaze  and  the  depth  of  its  color  ;  while  the  furniture,  with 
its    broad,    solid    lines,    was    expressive    of     the    comfort- 

xlii 


PREFACE 

able   Dutch   homes,  and  influenced  English   and  American 
furniture. 

It  is  this  richness  cf  inner  development  which,  combined 
with  political  and  commercial  strength,  won  for  Holland  a 
position  of  universal  importance  among  European  powers 
in  the  Seventeenth  Century,  and  enabled  her  to  give  from 
her  own  abundance  to  other  lands,  America  in  particular. 
And  these  elements  were  the  fruits  of  the  highest  period  of 
Dutch  culture,  born  of  a  nation's  successful  struggle  for  in- 
dependence. 


The  works  of  the  artists  are  arranged  chronolog- 
ically ;  such  arrangement  is,  however,  naturally 
hypothetical  with  artists  who  frequently  omitted 
the  dates,  /.  e.,  Cuyp  and  Vermeer. 

ABBREVIATIONS 

Bode  St.  W.  Bode  :   Studien  zur  Geschichte  der  hollandi- 

schen  Malerei.      Braunschweig,   1883. 

Bode  R.  .  .  .  W.  Bode  (assisted  by  C.  Hofstede  de  Groot)  : 
The  Complete  Works  of  Rembrandt.  Paris, 
1897  fF. 

Dutuit  ....  Dutuit  :  L'CEuvre  complet  de  Rembrandt.  Paris, 
1883. 

Hofstede  de  Groot.  C.  Hofstede  de  Groot :  A  Catalogue  Raisonne 
of  the  Works  of  the  Most  Eminent  Dutch  Painters 
of  the  Seventeenth  Century.      London,   1908   fF. 

Klass.  d.  K.  .  .  Rembrandt,  des  Meisters  Gemalde  in  643  Ab- 
bildungen.  Klassiker  der  Kunst,  11.  Stuttgart, 
3d  edition,  1909. 

Michel  .  .  .  .  G.  Michel  :  Rembrandt,  sa  vie,  son  ceuvre  et 
son  temps.      Paris,   1893. 

Moes  E.  W.  Moes  :   Frans  Hals,  sa  vie  et  son  ceuvre. 

Bruxelles,  1909.  . 

Smith  ....  John  Smith  :  A  Catalogue  Raisonne  of  the  Works 
of  the  Most  Eminent  Dutch,  Flemish  and  French 
Painters.      London,  I  829-1  842. 

Vosmaer.  .  .  .  C.  Vosmaer  :  Rembrandt,  sa  vie  et  ses  ceuvres. 
Haag,  2d  edition,   1879. 

Waagen  Fr.  Waagen  :   Works  of  Art  and  Artists  in  Eng- 

land.     1838  fF. 


PAINTINGS     BY 
DUTCH     MASTERS 


NICOLAES    BERCHEM 
Born  in   Haarlem    in   1620.      Died  at  Amsterdam,  1683. 
Pupil    of  his  father,  of  Jean   Baptiste  Weenix  and  others. 
He  probably  traveled  in  Italy.       Painter  and  etcher  of  land- 
scapes and  animals,  mostly  in  the  Italian  manner. 

y  THE  FORD.  On  the  right  a  precipitous  cliff.  The 
river  flowing  at  its  base  winds  down  from  mountains  in 
the  left  background.  In  the  left  foreground  a  woman  on 
horseback,  wearing  a  dark  blue  skirt  and  red  bodice,  in 
conversation  with  another  woman  who  walks  beside  her 
carrying  one  child  and  leading  a  second  by  the  hand.  On 
the  further  left  a  seated  woman  and  a  shepherd  lad.  In 
the  right  foreground  a  boy  is  playing  with  a  dog.  Goats 
and  sheep  are  scattered  among  the  flgures.  The  brown 
tones  of  the  foreground  melt  into  the  tender  gray-green  of 
the  mountains  and  the  translucent  pale  yellow  of  the 
slightly  cloudy  sky. 

Signed    in    the    centre    foreground:     N.    Berchem    (partly 
illegible). 

Panel:  H.  19^  inches;   W.  15^8  inches. 
An  identical  composition,  of  larger  compass,  dated   1659, 
hangs  in  the  Dresden  Gallery,  Cat.  No.   1489. 

Lent  by  Mr.  Charles  E.  Bushnell,  New  York. 

2 


STILL    LIFE    BY    ABRAHAM    VAX    BEYEREN 


THE     HUDSON-FULTON     CELEBRATION 

ABRAHAM  VAN  BEYEREN 
Born  at  The   Hague  in   1620-21.      Died  at  Alkmaar  in 
1675.      Probably  a  pupil  of  his  brother-in-law,  Pieter  de 
Putter.      Worked  at   Leyden,   at    Delft,   at    Alkmaar   and 
especially  at  The  Hague.      Painter  of  still  life  and  marines. 

r>  STILL  LIFE.  On  a  table  covered  with  a  blue  cloth 
edged  with  silver  fringe  is  a  basket  holding  a  silver  dish 
filled  with  grapes,  peaches  and  figs  ;  on  the  left  a  golden 
beaker  and  a  silver  plate  with  a  ham  ;  behind  this  is  a  Delft 
stein  and  a  Renaissance  cup.  In  the  foreground  on  a  white 
cloth  is  a  silver  tray  with  a  lobster  and  two  Rhine  wine 
glasses  ;  on  the  right  some  oysters  and  a  small  loaf.  A  red 
curtain  is  draped  over  a  window  at  the  left. 
Canvas:   H.  49  inches;   W.  41^2    inches. 


Lent  by  Mrs.  William  L.  Elkins,  Philadelphia. 

3 


THE      HUDSON-FULTON      CELEBRATION 

FERDINAND  BOL 

Born  at  Dordrecht  in  1 6 1 6.  Died  at  Amsterdam  in  1680. 
Pupil  of  Rembrandt  between  1635  and  1640.  Worked 
at  Amsterdam.  Painter  of  portraits,  religious  and  alle- 
gorical subjects. 


3 


PORTRAIT  OF  A  LADY.  Half-length.  The 
figure  turned  slightly  to  the  left,  facing  the  spectator. 
Her  waving  brown  hair  falls  about  her  shoulders,  and  her 
hands,  the  left  holding  a  fan,  are  folded  before  her.  She 
wears  a  black  dress  with  a  greenish  bodice,  an  elaborate 
lace-trimmed  collar,  pearls  on  her  wrists  and  throat  and  a 
gold  comb  in  her  hair. 

Signed    on   the  left :    F.  Bo/,  l6^J   ( the  last  figure  nearly 
illegible). 
Canvas:    H.  33  inches;   W.  27  inches. 


Lent  by  Mr.  Theodore  Davis,  Newport. 

'       4 


THE      HUDSON-FULTON      CELEBRATION 

JAN  VAN  DE  CAPELLE 

Born  in  Amsterdam  in  1624  or  1625.  Died  there  in 
1679.  Influenced  by  Simon  de  Vlieger.  His  marines 
brought  fame  and  riches  to  him.  He  lived  in  Amsterdam 
and  had  friendly  relations  with  Rembrandt  and  Eeckhout. 
Painter  of  marines  and  winter  landscapes. 

.  WINTER  SCENE.  On  the  left  a  frozen  canal  lead- 
■  ing  to  the  distance,  with  skaters  and  men  playing  golf; 
at  the  left,  in  the  foreground,  a  man  with  a  sled.  At  the 
right  a  road  edged  with  trees  leads  over  a  bridge  to  a  dis- 
tant house  in  front  of  which  a  boat  is  moored.  At  the 
extreme  right,  in  the  foreground,  a  partly  submerged  boat 
is  frozen  among  the  reeds.  Clouded  winter  sky. 
Signed  on  the  left :  J.  v.  Cappelle  1 653. 
Canvas:   H.  finches;   W.  20*^   inches. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 

5 


THE      HUDSON -FULTON     CELEBRATION 

JAN  VAN  DE  CAPELLE 

CONTINUED 

5  MARINE.  Broad  expanse  of  water  and  sky.  On  the 
right  a  pier  and  sailboats;  at  the  end  of  the  pier  the 
figures  of  three  men  are  outlined  against  the  horizon.  On 
the  left  a  large  sailboat  with  reddish-brown  sails  and 
beyond  it  two  war-vessels,  the  larger  under  full  sail.  In 
the  centre  of  the  foreground  a  rowboat  with  two  fisher- 
men, one  drawing  a  net.  From  the  left  a  neck  of  land 
extends  along  the  horizon. 
Signed  on  the  right:  y.  v.  C. 
Panel:    H.  23  inches;   W.  33  inches. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
6 


THE      HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 
Born  in  Dordrecht  in  1620.      Died  in  1691.      Pupil  of  his 
father,  Jacob  Gerrits  Cuyp.      Primarily  influenced  by  Jan 
van  Goyen  and  Pieter  Molyn,  later  by  Rembrandt.    Painter 
of  landscapes,  portraits,  animals  and  still  life. 

/C  VILLAGE  IN  THE  DUNES.     In  the  middle  distance 
a  village,  with  a  church  on  the  left  and  two  windmills 
on  the  right,  partly  obscured  by  the  dunes.      In  the  centre 
of  the  foreground  a  peasant,  in  a  dark-gray  jacket,  leans  on 
his  stafF  and  looks  toward  the  village.       A  gray,  clouded 
sky.      A  warm  yellow  tone  sufFuses  the  landscape. 
Panel:   H.  S}4  inches;   W.  10^   inches. 
Early  work  under  influence  of  van  Goyen,  about  1 640. 
Hofstede  de  Groot,  No.  70 1 . 
Collection  of  von  Preyer,  Vienna. 


Lent  by  Senator  W.  A.  Clark,  New  York. 
7 


7 


THE  HUDSON -FULTON  CELEBRATION 

AELBERT  CUYP 

CONTINUED 

PIPING  SHEPHERDS.      A  group  of  three  shepherds 
on  a  hill  near  the  borders  of  the  Maas,  one  playing  a 
bagpipe,  the  second  a  flute,  and  the  third  reclining  on  the 
bank.      Back  of  the  group  the  heads  of  two  cows  are  seen 
in  front  of  some  shrubs,  and  in  the  foreground  a  small  bark- 
ing dog.      On  the  slope  of  the  hill  a  rlock  of  sheep.      In 
the  background  a  distant  view  01  the  Maas. 
Signed  on  the  right:    A.  Cuyp. 
Canvas:   H.  35^   inches;   W.  47 }4   inches. 
Early  work,  about  1640—50. 
Hofstede  de  Groot,  No.  331. 


Eent  by  Mrs.  Collis  P.  Huntington,  New  York. 

8 


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THE      HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 

CONTINUED 

O  THE  MAAS  NEAR  DORDRECHT.  The  river, 
alive  with  many  boats,  occupies  the  lower  part  of  the 
canvas.  Rush-grown  shore  with  piles  in  the  foreground. 
On  the  right  a  sailboat  with  partly  reefed  sails.  Toward 
the  left  on  a  small  jut  of  land,  three  boats  are  beached  and 
loading.  A  man  with  a  sack  and  a  woman  with  a  basket 
on  her  arm  stand  clearly  outlined  against  the  horizon. 
Two  boats,  one  with  six  passengers,  are  rowing  toward  the 
shore.  Farther  back  several  sailboats.  Dordrecht  lies  on  the 
opposite  shore,  with  the  "Great  Church"  on  the  right. 
The  larger  part  of  the  canvas  depicts  a  misty  sky.  The 
sun  breaking  through  on  the  left  is  reflected  in  the  water. 
Afternoon  light. 

Signed  on  the  left  at  the  base  of  the  boat :   A.  Cuyp. 
Canvas:   H.  41^   inches;   W.  64  inches. 
About  1650. 

The  picture  might  be  identical  with  one  of  the  following 
numbers  of  Hofstede  de  Groot:    646,  652^,  6jjd. 
Catalogue   of  the  H.  C.  Frick   Collection,  No.  7. 
Bode,  Dutch  and  Flemish  Painters,  1909,  p.  192. 
Collection  of  a  Northumberland  family. 


Lent  by  Mr.  Henrv  C.  Frick,  New  York. 
9 


THE     HUDSON-FULTON      CELEBRATION 

AELBERT  CUYP 

CONTINUED 

n  RIVER  VIEW.  ("Sea  view  with  cattle  on  shore.") 
/  A  broad  expanse  of  water  and  sky,  with  several  war- 
ships carrying  the  Dutch  flag,  and  smaller  craft  in  the 
foreground.  At  the  edge  of  the  marshy  shore,  seven  cows. 
A  warm  evening  sky  with  clouds  is  reflected  in  the  water. 
Signed  on  the  right:  Cuyp. 
Panel:   H.  10V2   inches;   W.  16U,   inches. 


Lent  by  Sir  William  van  Home,  Montreal 
10 


THE     HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 

CONTINUED 

T(~   MILKING-TIME.        Six   cows    are    pastured    in    a 
meadow  lying  at  the  foot  of  hills.      A  maid  is  milking 
a  black   cow,  and  a   brown   one  stands  near   by,   turned   in 
profile  to  the  left.      In  front  lie  two  more  brown  cows  and 
a  white  one.      On   the  left,   behind   some   bushes,  a  sixth 
cow  stands  facing  the  spectator.      Afternoon  light.      Yel- 
low clouds  on  the  horizon. 
Signed  on  the  lower  right:   A.  Cuyp. 
Panel:  H.  ij%   inches;   W.  21^   inches. 
Of  the  artist's  middle  period. 
Probably  identical  with  Hofstede  de  Groot,  Nos.  380^  and 

387£- 

Sale  Pieter  Oets  in  Amsterdam,  1 79 1 . 

Sale  Earl  of  Cork  and  Orrery,  London,  1905. 


Lent  by  Mr.  W.  B.  Dickerman,  New  York. 
1 1 


THE   HUDSON -FULTON  CELEBRATION 

AELBERT  CUYP 

CONTINUED 

yy  MILKING-TIME.       A  meadow  with  a  distant  view 
of  Dordrecht  and  its  cathedral.         At  the  right  three 
cows  and   a   woman  in  a  red  bodice  milking;   in  the  fore- 
ground meadow-weeds.      Evening  sky  with  clouds. 
Signed  at  the  lower  left:   A.  Cuyp. 
Panel:    H.  22J/2   inches;   W.  285^  inches. 


Lent  by  Mr.  George  J.  Gould,  New  York. 


THE     HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 

CONTINUED 

T~  LANDSCAPE  WITH  FIGURES  AND  CATTLE. 
In  the  foreground  on  the  right  a  large  group  of  trees,, 
a  shepherd  with  his  dog  and  two  cows;   beyond  him  on  a 
hillock  in  the  shadow  of  the  trees,  a  horseman  in  red  followed 
by  a  group  of  peasants,  one  on  a  mule.      On  the  left  a  pool 
at  which  a  cow  is  drinking;  on  the  opposite  shore  the  stoop- 
ing figure  of  a  man,  and   beyond  him,  two  shepherds  and 
some  sheep.      In  the  centre  a  lake  and  a  castle.      At  the  ex- 
treme left  high  mountains,  one  crowned  by  a  tower.      Even- 
ing sky  with  clouds. 
Signed  at  the  lower  left:  A.  Cuyp  fecit. 
Canvas:   H.  52  inches;   W.  yj  inches. 
About  1 66c— 70. 

A  large  replica,  with  little  variations,  of  a  picture  in  the  pos- 
session of  Lord  Scardale. 

Smith,   No.    91;   Waagen,   Vol.    II,  p.    398;   Hofstede   de 
Groot,  No.  437. 

Exhibited  at  the   Royal  Academy,  London,    1828,   1871, 
1894,  1903. 
Collection  of  Earl  Dudley,  London. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

13 


THE      HUDSON-FULTON      CELEBRATION 

AELBERT  CUYP 

CONTINUED 

T  «  LANDSCAPE  WITH  BRIDGE.  At  the  left  a  road 
-}  leading  to  the  right  over  an  arched  stone  bridge  which 
spans  a  narrow  stream.  At  the  right  several  mountains 
which  slope  off  to  the  horizon.  In  the  foreground,  on  the 
left,  a  seated  shepherd  and  four  cows,  a  white  one  going 
toward  the  water.  On  the  opposite  side  of  the  bridge 
two  men  on  the  road.  A  warm  golden  light  suffuses  the 
picture. 

Signed  on  the  right :   A.  Cuyp. 
Panel:    H.  19  inches;   W.  28^    inches. 
About  1660-70. 
Hofstede  de  Groot,  No.  304. 
Collection  of  W.  A.  Hankey,  Beaulieu  in  Hastings. 


Lent  by  Mrs.  John  W.  Simpson,  New  York. 
14 


THE      HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 

CONTINUED 

T    ,   MAN  EATING  MUSSELS.     On   the   right  of  the 
'   canvas,  a  blacksmith,  wearing  a  golden-brown  jacket, 
is  seated  in   his  smithy,  beside  a  cask,   eating  mussels;    a 
small  boy  and  a  little  girl  who  wears  a  red  bodice  and  a 
white  apron  are  watching  him.      On  the  right   two   richly 
dressed  men  are  looking  through  a  window.      The  smith's 
assistant  stands  in  the  left  background  in  the  shadow,  hold- 
ing a  hammer  in  his  hand.      A  small  dog  lies  in  front  of 
the  cask.      On  the  left  a  cock  and  two  hens. 
Signed  at  the  lower  left :   A.  C. 
Panel:   H.  2.0%   inches;   W.    305^   inches. 
About  1660-70. 

This  picture  is  a  smaller  replica   of  the   painting  in   the 
Boymans  Museum  in  Rotterdam. 
Smith,  No.  178;   Hofstede  de  Groot,  No.  50. 
Collection  Van  Loon,  Amsterdam. 
Sale  A.  Febvre,  Paris,  1882. 

Sale  Baron  de  Beurnouville,  Paris,  No.  13,  1883. 
Sale  F.  Zschille,  Cologne,  1889. 
Collection  of  Baron  v.  d.  Heydt,  Berlin. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 
15 


THE      HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 

CONTINUED 

T  -  COCK  AND  HENS.  A  cock,  turned  toward  the 
J  left,  stands  near  a  wooden  fence.  On  his  left  live 
hens.  In  the  right  foreground  a  brass  milk-can,  and  behind 
the  fence  a  large  tree-trunk.  Some  cabbages  in  the  left 
foreground,  and  in  the  rear  a  hilly  landscape  against  an 
evening  sky.  Warm  golden-brown  tones  predominate. 
Panel:    H.  35^  inches;   W.  45  inches. 

About    1650—60.     A   similar  picture  belonging  to  Dr.  A. 
Bredius  at  The  Hague  is  dated  1651. 


Lent  by  Mr.  John  G.  Jonnson,  Philadelphia. 
16 


THE      HUDSON-FULTON     CELEBRATION 

AELBERT  CUYP 

CONTINUED 

y /C  PEACHES.  A  dish  of  blue  and  white  Chinese  porce- 
lain, holding  peaches,  stands  on  the  right-hand  side  of 
a  table.  On  one  of  the  peaches  a  beetle  and  on  the  leaves 
a  caterpillar.  Behind  the  dish,  on  the  left,  a  bunch  of 
grapes. 

Signed  on  the  left  edge  of  the  table:   A.  C. 
Panel:    H.  17  inches;   W.  25  inches. 
Hofstede  de  Groot,  Nos.  836,  837. 
Sale  H.  de  Kat,  Paris,  1875. 
Sale  Prince  Paul  Galitzin,  Paris,  1875. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
f7 


THE   HUDSON -FULTON  CELEBRATION 

JAN  VAN  GOYEN 
Born  at  Leyden  in    1596.      Died  at  The  Hague  in  1656. 
Studied,  among  others,  under  Esaias  van  de  Velde.     Worked 
at  Leyden  and  at  The  Hague.      Visited   France.      Painter 
and  draughtsman  of  flat  landscapes  and  marines. 

j_  VIEW  OF  RHENEN.  A  sloping  hillside  sur- 
'  mounted  by  the  walled  city  of  Rhenen,  from  which 
rises  the  high  cathedral  tower,  and  beyond  it  a  windmill. 
In  the  foreground  at  the  right  a  road,  winding  about  a  sun- 
lit slope,  leads  along  the  banks  of  the  river  to  the  city.  In 
the  foreground,  several  peasants,  a  vehicle,  and  near  them 
some  cows  standing  in  a  pool.  Broad  expanse  of  clouded  sky. 
Signed  on  the  right:  y.  v.  Goyen  l6j6. 
Canvas:   H.  39^   inches;   W.  53^2    inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

18 


THE      HUDSON-FULTON     CELEBRATION 

JAN  VAN  GOYEN 

CONTINUED 

T  O  VIEW  OF  RHENEN.      On  the  left  the  river  winds 
through   a    hilly    country.      The   town,   situated   on  a 
hillside,  is  dominated  by  the  high   Gothic  church  tower,  a 
castle  and  two  windmills  on  the  right.      In  the  left   fore- 
ground a  little  inlet  in   which   a   boat  is  lying.      A  road 
leads   from  the  town  toward  the  right  foreground;    on  it, 
in  a  sunlit  spot,  an  equipage,  drawn  by  four  white  horses 
and  accompanied  by  a  rider.      Brown  tones  predominate  in 
the  foreground,  changing  to   a  background  of  gray-green. 
Dark-gray  clouds  are  massing  in  the  pale-blue  sky. 
Signed  on  the  right  foreground:    "J.  v.  Goyen  1646. 
Canvas:    H.  25^  inches;   W.  34^  inches. 
Collection  of  T.  Wright,  Apton   Hall,  Notts,  England. 


Lent  by  Senator  W.  A.  Clark,  New  York. 
19 


THE      HUDSON-FULTON     CELEBRATION 

JAN  VAN  GOYEN 

CONTINUED 

TO  VIEW  OF  DORDRECHT.  In  the  foreground  the 
7  river  Maas,  gay  with  boats.  Among  them  a  ferry- 
boat with  tall  sails  and  containing  numerous  passengers, 
nearing  the  left  shore.  In  the  middle  distance  the  red 
roofs  of  the  town  are  seen  through  a  gray  mist.  The 
"Great  Church"  on  the  right.  High,  light-blue  skv  with 
gathering  clouds. 

Signed  on  a  boat  in  the  right  foreground :   v  G.  1651. 
Canvas:    H.  40%    inches;  W.  53^   inches. 


Lent  by  Senator  W.  A.  Clark,  New  York. 
20 


THE     HUDSON-FULTON     CELEBRATION 

DIRK  HALS 
Born  at  Haarlem,  i  59 1 .     Died  there  in  1656.     Pupil  of  his 
older  brother  Frans  Hals.      Worked  at  Haarlem.      Genre 
painter. 

,-q  CHILDREN    PLAYING    CARDS.     A    little  girl 
wearing  a  green  dress  with  white  sleeves  is  seated  on 
the  right,  laughingly  holding  out  an  ace  of  spades.     On  the 
left  a  boy  seated  in  a  crouching  attitude  is  playing  out  a 
card.      He  wears  a  brownish-gray  costume  and  a  slouch  hat. 
The  children  are  using  a  foot-stove  as  a  table.      In  the  fore- 
ground some  cards  are  lying  on  the  floor. 
Signed  above  right  hand  of  child  in  background:    Dirck 
Hals  1 6 J—  (last  figure  indistinct). 
Panel:   H.   13  inches;   W.  11  inches. 
Companion  piece  to  No.  21. 

Collection  of  Greffier  Fagel,  sold  in  London,  1801. 
Collection  of  King  Leopold  of  Belgium. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

21 


THE     HUDSON-FULTON      CELEBRATION 

DIRK  HALS 

CONTINUED 

2|  GIRLS  WITH  A  CAT.  A  little  girl  is  seated,  hold- 
ing a  cat  on  her  knee;  a  smaller  girl  offers  it  something. 
The  children  have  blonde  hair  and  fresh  red  cheeks  and  are 
laughing  heartily.  They  are  dressed  in  tones  of  yellow, 
brown  and  grayish  green.  The  elder  child  wears  a  blue 
and  red  hood  and  a  white  collar.  An  earthenware  vessel 
stands  in  the  foreground. 
Panel:  H.  13  inches;  W.  11  inches. 
Companion  piece  to  No.  20. 

Collection  of  Greffier  Fagel,  sold  in  London,  1801. 
Collection  of  King  Leopold  of  Belgium. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

22 


THE     HUDSON-FULTON      CELEBRATION 

FRANS  HALS  THE  ELDER 
Born  at  Antwerp,  1584.      Died  at  Haarlem,  1666.      Pupil 
of  Karel  van  Mander.   Worked  mostly  at  Haarlem.   Painter 
of  portraits  and  genre. 

^  ^  THE  SMOKER.  Bust  of  a  smiling  boy  looking  toward 
the  spectator,  the  figure  turned  slightly  to  the  right. 
He  wears  a  striped  brown  coat  and  smokes  a  long  clay  pipe. 
Behind  him  at  the  left  a  young  girl,  whose  arms  are  about 
his  shoulders;  at  the  right  a  second  girl  in  a  red  dress,  hold- 
ing a  stein.  Behind  the  group  at  the  left  a  gray-green  cur- 
tain. 

Octagonal  panel:   H.  ij%  inches;   W.  18^   inches. 
Moes,  No.  21  2. 

Exhibited  at  the  Royal  Academy,  London,  1887. 
Collection  of  R.  G.  Wilberforce,  London. 
Collection  of  Mr.  Henry  G.  Marquand,  New  York. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

23 


THE      HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

ry~  SINGING  BOYS.      Bust,  slightly  turned  to  the  right. 
J  A  boy  with  long  light  curls,  wearing  a  black  hat  with 
a  feather,  sings  from  a  book  which  he  holds  before  him; 
with  his  left  hand  he  marks  the  time.      A  second  boy  look- 
ing over  his  right  shoulder  sings  from  the  same  book. 
Canvas:   H.  23^   inches;   W.  K)Ji   inches. 
About  1625. 
Moes,  Nos.  225,  226. 


Lent  by  Mr.  Charles  Stewart  Smith,  New  York. 

24 


SINGING    BOYS    BY    FRANS    HALS 


24 


THE     H U D S O N- F U L T O N      CELEBRATION 

FRANS  HALS 

CONTINUED 

BOY  PLAYING  A  FLUTE.     Bust.     The  figure  is 
turned   to  the  left,  the  head  thrown  back;   the  pose 

suggests  the  motion  of  the  dance.      He  wears  a  dark  coat 

and  a  black   hat  with  a  feather.      His  hands,  holding  the 

flute,  are  raised  to  the  left. 

Canvas:    H.  25^2    inches;   W.  25^   inches. 

Probably  Bode  St.,  No.  76—;    Moes,  No.  220  or  222. 

Probably  Collection  Warneck,  Paris  (1878). 


Lent  by  Mr.  E.  D.  Libbey,  Toledo. 

25 


THE     HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

9  -  SAMUEL  AMPZING,  PREACHER  IN  RE- 
Z^  FORMED  CHURCH,  HAARLEM.  Bust,  turned 
to  the  right,  looking  at  the  spectator.  He  has  a  beard 
and  wears  a  black  robe  with  a  white  linen  ruff  at  the  neck. 
With  the  left  hand  he  holds  a  parchment-bound  book 
with  red   leaves  against  his  breast. 

On    the   right  the  inscription:    AETAT  40,  AN0  1630. 
Copper:    H.  6^  inches;   W.  4^   inches. 
Print  by  J.  Suyderhoef. 
Moes,  No.  3  2. 


»  .* 


Lent  by  Sir  William  van  Home,  Montreal. 
26 


THE     HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

~/C  WILHEM  VAN   HEYTHUYSEN.      Bust,  turned 
to  the  right,  facing  the  spectator,  wearing  a  pointed 
beard.      The  face  is  smiling  and  the  right  hand  toys  with 
the  tassel  of  a  lace-trimmed  collar;  the  left  holds  his  gloves. 
He  wears  a  dark,  coat  and  a  broad-brimmed   hat.      Gray 
background.      In  a  painted  oval  frame. 
Panel:   H.  gj4   inches;   W.  y%   inches. 
Bode  St.,  No.  43;   Moes,  No.  47. 
Exhibited,  Palais  du  Corps  Legislatif,  Paris,  1874. 
Collection  Mr.  Double,  Paris. 
Collection  Mr.  Henry  Hecht,  Paris. 


Lent  by  Mr.  Charles  L.  Hutchinson,  Chicago. 

27 


THE      HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

*-  PORTRAIT  OF  A  MAN.    Half-length.    Turned  to 
"  /   the  right.      He  has  a  gray  beard  and  wears  a  black 
hat  and  cloak  with  a  white  ruff.     His  right  hand  is  folded 
over  the  left,  which  holds  a  twig. 

Signed  on  the  right :   AETA  SVAE  66  AN0  1633.  With 
the  monogram  F.  H. 

Canvas:    H.  30%    inches;   W.  24%'    inches. 
Moes,  No.  1 84/2. 


Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 
28 


THE     HUDSON-FULTON      CELEBRATION 

FRANS  HALS 

CONTINUED 

~Q  PORTRAIT  OF  AN  ARTIST.  Half-length.  Seated, 
the  right  arm  resting  on  the  arm  of  his  chair.      His 
hair  is  long  and  he  wears  a  large  slouch  hat.      Black  cos- 
tume with    broad  white    collar    and    cuffs.      A    cloak    is 
thrown  over  his  left  shoulder.      He  holds  a  paint-brush  in 
his  right  hand.      A  column  behind  him  on  the  right. 
Signed  at  the  lower  right :    F.  H.  1 635. 
Canvas:    H.  39^2    inches;   W.  32^   inches. 
By  some  called  a  portrait  of  the  artist. 

Bode  St.,  No.  140;   Moes,  No.  37;   Catalogue  H.  C.  Frick 
Collection,  No.  18. 

Exhibited  at  the  Burlington  House,  London,  1882,  No.  87. 
Collection  of  S.  K.  Mainwaring,  Otley,  England. 


Lent  by  Mr.  Henry  C.  Frick,  New  York. 

29 


THE     HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

^0  THE  REV.  CASPAR  SIBELIUS.  Half-length. 
"/  Turned  slightly  toward  the  right,  addressing  his  con- 
gregation. The  left  hand  is  raised  in  eloquent  gesture  and 
he  holds  a  small  prayer-book  in  the  right.  He  is  dressed 
in  black  with  a  white  outstanding  ruff  and  a  black  skullcap. 
Signed  on  the  right:  AETAT  SVAE  tf,  AN°  /6j/, 
beneath  the  artist's  monogram  composed  of  the  letters 
F  HALS.  At  the  top  of  the  canvas,  in  the  centre,  the  in- 
scription NATUS  ijgo  S  M  FUNCTUS  40. 
Panel:  H.  10^  inches;  W.  9  inches. 
Print  by  J.  Suyderhoef. 

Sibelius  was  born  in  Elberfeld  in  1  590,  and  preached  first 
in  London,  then  in  Zurich,  and  finally  in  Deventer,  where 
he  died  in  1658.  From  what  is  written  on  the  back  of 
the  painting  it  would  seem  that  Sibelius  presented  this  por- 
trait to  a  certain  Professor  Hoffman. 
Moes,  No.  74. 
Exhibited  at  the  Palais  du  Corps  Legislatif,  Paris,  1874. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 

30 


MICHIEL    DE    WAEL    (?)     BY    FRAXS    HALS 


THE      HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

„  MICHIEL   DE  WAEL    (?).        Half-length    figure 

•J       turned  to  the  right.      He  has  a  moustache  and  a  slight 

chin-tuft,  and  wears  a  large  black  felt  hat,  a  black  costume 

with  a  white  ruff  and  yellowish  gloves.      His  left  hand  rests 

on  a  stick. 

Inscribed   on    the  right:    AETAT  SVAE  32,  AN  1638. 

Canvas:    H.  34  inches;   W.  26^   inches. 

This  portrait  is  said  to  be  Michiel  de  Wael,  who  appears  in 

the  picture  of  St.  Joris'  Shooting  Company,  1639. 

Moes,  No.  135. 

Collection  of  Arthur  Seymour,  London. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

31 


THE      HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

~T   PORTRAIT    OF     A    LADY.      Half-length    figure 

J      turned   to    the   left,    facing    the  spectator,    holding    a 

fan   in   the   right  hand.      She   wears  a  black   dress   with   a 

wide,  white,  lace-trimmed  collar  and   cuffs,  a   close-fitting 

cap,  and  a  pearl  necklace.      Gray  background. 

Canvas:   H.  31^2    inches;   W.  25^   inches. 

About  1640. 

Moes,  No.  206. 

Exhibited  at  the  Royal  Academy,  London,  1903. 

Sale  Isle  of  Wight,  1896. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

32 


THE     HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

~ry  PORTRAIT    OF    A    MAN.      Half-length,   turned 
3      to  the  left,  facing  the  spectator.    He  has  long,  straight, 
black  hair.     His  right  hand  in  the  folds  of  his  cloak.     A 
square,  white,  cambric  collar. 
Canvas:   H.  25  inches;  W.  21  inches. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
33 


THE     HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

22  HEER  BODOLPHE.   Three-quarters  length.   Figure 

JSj  of  an  elderly  man  seated  in  a  high-backed  chair,  turned 

to  the  right.      The  face,  three-quarters  view,  looks  intently 

at  the   spectator;   in    his   hands  he   holds   his  gloves.      His 

dark  coat  is  closely  buttoned,  and   a   cloak   of  similar   tone 

fall's  over  the  left  shoulder  and  knees.      He  wears  a  white 

ruff  and  a   black  felt  hat  with   a   broad  brim   and   a   high 

crown. 

Signed  on  the  right:  AETAT  SVAE  yj  AN0  1643,  with 

the  monogram  F.  H. 

Canvas:    H.  48  inches;   W.  38^    inches. 

The  identity  of  the  person  is  uncertain. 

Bode  St.,  No.  55;   Moes,  No.   105. 

Collection  of  Count  Mniszech,  Paris. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

34 


THE  HUDSON -FULTON   CELEBRATION 

FRANS  HALS 

CONTINUED 

~   .   VROUW     BODOLPHE.      Three-quarters     length. 

J   ■    An  elderly  lady  seated  in  a  carved  chair,  turned  to  the 

front  and  looking  at  the  spectator,  full  face;    her  left  hand 

rests  on  the  arm  of  the  chair,  and  in  her  right  hand  she 

holds  a  pair  of  long  white  gloves.      She  wears  a  dark  dress 

with  iur  trimmings,  a  white  ruff  around  the  throat,  and  a 

close-fitting,  white,  linen  cap. 

Signed  on  the  left:    AE'TAT  SVAE  J 2  AN0  1 643,  with 

the  monogram  F.  H. 

Canvas:    H.  48  inches;   W.  38^    inches. 

Bode  St.,  No.  56;   Moes,  No.  106. 

Collection  of  Count  Mniszech,  Paris. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

35    . 


THE      HUDSON-FULTON      CELEBRATION 

FRANS    HALS 

CONTINUED 

~  -  PORTRAIT  OF  A  MAN.  Three-quarters  length. 
J-3  Standing,  turned  to  the  right,  the  right  hand  resting 
on  the  hip  with  the  palm  turned  outward,  the  gloved  left 
hand  holding  the  right  glove  against  the  chest.  He  wears 
a  Mack  costume,  a  large  lace-trimmed  collar  and  a  felt  hat. 
Signed  on  the  right  of  the  foreground:  AETAT  SKiE 
AN°  1643,  with  the  monogram  F.  H. 
Canvas:  H.  A-6%  inches;  W.  35^  inches. 
Moes,  No.   137. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 

36 


THE     HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

^  A  DOROTHEA  BERCK,  wife  of  Balthasar  Coymans 
•3  (No.  37).  Half-length  portrait  of  a  middle-aged  woman, 
seated,  and  turned  slightly  to  the  left,  with  hands  folded, 
the  right  hand  gloved.  She  wears  a  black  dress  with  a  pad- 
ded skirt,  a  pointed  collar  with  turned-back  cuffs  of  white 
cambric.  Her  dark  chestnut  hair  is  arranged  under  a  close- 
fitting  black  silk  cap. 

On   the   wall   to  the   left  her   armorial  bearings,  AETA'T 
SVAE  51,  AN°  1644,  with  the  monogram  F.  H. 
Canvas:    H.  31^    inches;   W.  2jj4    inches. 
The  identification  of  this  person  is  uncertain. 
Moes,  No.  29. 

Collection  of  Mrs.  Wollaston,  London. 
Collection  of  Mr.  Rudolphe  Kann,  Paris. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 

37 


THE  HUDSON -FULTON   CELEBRATION 

FRANS   HALS 

CONTINUED 

,-_  BALTHASAR  COYMANS,  ALDERMAN  OF 
J'  HAARLEM.  Half-length.  Portrait  of  a  young  man 
with  long  curling  hair,  light  moustache  and  a  chin-tuft,  seated 
on  a  red  chair  turned  to  the  right,  his  right  arm  resting  on 
the  back  as  he  looks  at  the  spectator.  He  wears  a  gold- 
embroidered  coat  with  puffed  white  sleeves  and  a  high 
black  hat. 

On  the  wall  to  the  left  his  armorial  bearings,  and  the  inscrip- 
tion AETAT  SVAE  26,  1645. 
Canvas:    H.  293,    inches;   W.  24^    inches. 
The  identification  of  this  person  is  uncertain. 
Moes,  No.  27. 
Collection  of  Mr.  Rudolphe  Kann,  Paris. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 

38 


THE  HUDSON -FULTON   CELEBRATION 

FRANS  HALS 

CONTINUED 

~Q  ISABELLA  COYMANS  ("The  Lady  with  the 
«3  Rose").  Three-quarters  length.  Turned  slightly  to  the 
right,  the  face  looking  to  the  left,  smiling,  as  she  holds  a  red 
rose  in  her  extended  right  hand.  She  wears  a  white  skirt 
trimmed  with  silver  lace  and  a  black  overskirt  and  bodice 
with  a  white  lace  collar  and  cuffs;  at  her  right  side  a  ribbon 
bow  from  which  hangs  a  watch.  Around  her  throat  and  her 
right  wrist  are  strings  of  pearls,  and  she  wears  earrings  tied 
with  red  ribbons.  Her  waving  brown  hair  falls  about  her 
neck  and  is  ornamented  with  a  ribbon.  In  her  gloved  left 
hand  she  holds  her  right  glove.  Her  armorial  bearings 
hang  on  the  wall  at  the  left. 
Canvas:    H.  49  inches;   W.  50  inches. 

Companion  portrait  of  her  husband,  Stephanus  Geraerdts,  at 
the  museum  at  Antwerp. 
Moes,  No.  35. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
39 


THE      HUDSON-FULTON     CELEBRATION 

FRANS  HALS 

CONTINUED 

^n  PORTRAIT  OF  A  MAN.  Three-quarters  length. 
•J  7  Standing,  turned  slightly  to  the  right.  He  has  gray 
hair  and  a  small  moustache,  wears  a  hlack  hat  and  cloak 
with  a  square  cambric  collar.  His  right  hand  is  on  his 
hip,  and  his  left,  folded  in  his  cloak,  holds  his  yellow 
gloves. 

Signed  on  the  right:  AETATIS  SFAE53,  with  the  mono- 
gram F.  H.  1648. 

Canvas:    H.  4934    inches;   W.  40  inches. 
Moes,  No.  107. 


Lent  by  Mr.  Charles  M.  Schwab,  New  York. 
40 


THE     HUDSON-FULTON      CELEBRATION 

FRANS  HALS 

CONTINUED 

,  q  PORTRAIT  OF  A  LADY.  Half-length.  Seated, 
•  the  figure  turned  to  the  left,  her  right  arm  over  the 
back  of  the  chair,  the  head  facing  the  spectator  and  her 
hands  clasped  before  her.  She  wears  a  richly  trimmed 
black  silk  dress  with  a  pink  front;  a  broad  lace-trimmed 
collar  and  cuffs;  a  black  cap  with  a  point  over  the  fore- 
head, trimmed  with  a  gold  band  studded  with  pearls  ;  and 
gold  band  bracelets.  On  the  left,  in  the  background,  two 
columns,  and  on  the  right  a  distant  view  with  church  spires. 
Canvas:  H.  38^  inches;  W.  t,°H  inches. 
Moes,  No.  205. 

Erroneously  called  portrait  of  the  wife  of  the  artist. 
Collection  of  the  Earl  of  Besborough. 
Collection  of  Lewis  Banker,  Kings  Lynn,  Norfolk. 
Collection  of  Henry  G.  Marquand,  New  York. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

41 


THE     H  U  D  S  O  N- F  U  L  T  O  N     CELEBRATION 

FRANS  HALS 

CONTINUED 

iy   PORTRAIT  OF  A  MAN.      Three-quarters   length. 

'       Standing,  slightly  turned  to  the  right,  the  right  hand 
resting  upon  the  hip,  the  left  holding  a  broad-brimmed  hat. 
He  wears  a  black  jacket  with  slashed  sleeves  over  a  white 
shirt  with  a  small  white  collar. 
Signed  at  the  right  with  the  monogram  F.  H. 
Canvas:    H.  42^    inches;   W.  33^2    inches. 
About  1650. 
Moes,  No.  184. 

Collection  of  the  Earl  of  Buckinghamshire. 
Collection  of  Henry  G.  Marquand,  New  York. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

42 


THE  HUDSON -FULTON  CELEBRATION 

BARTHOLOMEUS  VAN  DER  HELST 
Born   at   Haarlem,  1 6 1 3.       Died  at   Amsterdam   in    1670. 
Established    himself    in   Amsterdam    in   early   life,   where, 
under  the  influence  of  Nicolaes  Elias,  he  became,  after  Rem- 
brandt, the  most  famous  portrait  painter  in  the  city. 

.ry  PORTRAIT  OF  A  MAN.      Bust.      The  hands  not 
■    '  visible.      Turned   slightly  towards  the  right.      Dark- 
brown  hair,  gray  moustache  and  chin-tuft.      Black  costume 
with  flat  cambric  collar.      Gray  background. 
Signed  on  the  right:  Aeta  62.      B.  van  der  Heist,  1647. 
Panel:   H.  10  inches:   W.  8  inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York 

43 


THE      HUDSON-FULTON      CELEBRATION 

BARTHOLOMEUS  VAN  DER  HELST 

CONTINUED 

<-  PORTRAIT  OF  A  LADY.  Half-length  figure, 
'J  turned  slightly  to  the  right,  the  hands  not  visible.  She 
wears  a  bluish-gray  silk  dress  trimmed  with  gold  and  silver 
lace  and  a  broad  lace  collar.  Pearls  at  her  throat  and 
in  her  hair,  which  is  brushed  plainly  back  and  falls  in  ring- 
lets on  either  side.  A  dark-green  curtain  hangs  behind 
her.  Brownish-gray  background  on  the  right. 
Canvas:  H.  i  i  %  inches;  W.  10%  inches. 
About  1660. 

Formerly  ascribed  to  Terborch.      Rightly  attributed  to  van 
der  Heist  by  Hofstede  de  Groot. 


Lent  by  Mr.  Robert  W.  de  Forest,  New  York. 

44 


THE      HUDSON-FULTON     CELEBRATION 

JAN  VAN  DER  HEYDEN 
Born    at   Gorkum,    1637.      Died   at  Amsterdam  in    171 2. 
Traveled    in    Germany,  Belgium   and   England.      He  was 
an  engineer  and  introduced  street  lamps.      Painter  of  land- 
scapes with  architecture,  and  still  life. 

■  STREET  IN  DELFT.  A  street  leading  to  the  City 
•  I  Hall  of  Delft.  At  the  right  several  men  and  boys 
playing  at  bowls  beneath  a  shed  built  against  the  wall  of  a 
house;  beyond  this  some  small  shops.  At  the  left  a  row 
of  old  houses  forms  an  irregular  sky-line.  In  the  back- 
ground on  the  left  the  street  narrows  to  a  passageway  be- 
tween the  buildings.  In  the  foreground  children,  groups 
of  civilians  and  peasants. 
Signed  on  the  right:  J.  V.  Hey  den. 
H.  21%    inches;   W.  27^    inches. 

The  figures  are   by  Jan   van  der  Heyden,  not  by  Adriaen 
van  de  Velde  as  is  often  the  case  in  works  of  this  artist. 


Lent  by  Mr.  Theodore  M.  Davis,  Newport. 
45 


THE  HUDSON -FULTON  CELEBRATION 

JAN  VAN   DER  HEYDEN 

CONTINUED 

-  BULL  IN  THE  STREET.  A  red-brown  bull, 
■O  turned  towards  the  right  and  tethered  to  the  steps  of 
a  house,  stands  in  a  strong  light;  of  his  driver  behind  him, 
nothing  but  the  feet,  and  legs  encased  in  dark-blue  stock- 
ings, are  visible.  On  the  right  a  woman  is  looking  out  of 
the  window.  In  the  left  foreground  a  large  dark-brown 
hound  is  lying  in  the  shade.  In  the  rear  a  canal,  its  farther 
bank  edged  with  trees.  Several  roofs  lit  up  by  the  sun  are 
visible  beyond.  A  number  of  figures  are  standing  beneath 
the  trees,  partly  in  the  shade;  among  them  a  lady  and  gen- 
tleman, a  serving-maid  and  two  dogs.  Dark  and  cloudy 
sky. 

Canvas:    H.  123;    inches;   W.  1 5 Js'    inches. 
About  1660-65. 

The  bull,  the  dog  and  the  figures,  are  painted  by  Adriaen 
van  de  Velde. 
Smith,  No.  109. 


Lent  by  Mr.  William  T.  Blodgett,  New  York. 

46 


THE     HUDSON-FULTON      CELEBRATION 

MEINDERT  HOBBEMA 
Born  at  Amsterdam,   1638;  died  there  in  1709.      Educated 
under  the  influence  of  Jacob   van   Ruisdael.      Worked  at 
Amsterdam  (seldom  after  1668).      Painter  of  wooded  land- 
scapes. 

.  f.  THE  POOL.  In  the  foreground  a  small  pool  lies 
■  across  a  path  which  leads  to  a  Gothic  church  in  the 
background.  A  straw-thatched  cottage  overgrown  with 
vines  stands  in  front  of  the  church.  Tall  oaks  on  the  left, 
beneath  which  two  humble  thatched  cottages  are  partly 
hidden.  A  man,  and  a  woman  wearing  a  red  skirt,  with  a 
boy  at  her  side,  are  standing  on  the  road.  Thick  white 
clouds  are  massing  in  the  sky  behind  the  church.  The 
sunlight  shines  through  the  trees  and  falls  in  patches  on 
the  road. 

In  the  foreground  on  the  right,  signed:   M.  Hobbema. 
Panel:    H.  20^2    inches;   W.  26^    inches. 
Early  work,  about  1  660. 
Probably  identical  with  Smith,  No.  39. 
Sale  Muilman,  Amsterdam,  181  3. 
Sale  Lapeyriere,  Paris,  18  17. 
Collection  of  Mr.  George  Morant,  London,  1832. 


Lent  by  Mr.  William  T.  Blodgett,  New  York. 

47 


THE  HUDSON -FULTON   CELEBRATION 

MEINDERT  HOBBEMA 

CONTINUED 

.  -  CASTLE    KOSTVERLOREN.      In    the    centre    a 
■  '    square  tower  of  red  brick,  with  four  step-gables,  rises 
amid  crumbling  walls  from  the  castle-moat;  four  men  are 
working  on  the  walls.      Near  the  entrance    to    the   draw- 
bridge,   two   large   trees  with   autumn  foliage,   and    a   boy 
with  a  man  in  a  red  coat  walking  along  a  road.      Beyond 
the  trees  a  cottage  and  gate,  and  behind  the  castle,  on  the 
opposite  side  of  the  moat,  are  small  woods.     White  clouds. 
Signed  in  the  lower  right-hand  corner:    M.  Hobbenni. 
Canvas:    H.  22%    inches;   W.  2Q}<   inches. 
Smith,  No.  i  1 6. 
Collection  of  Mr.  Fred.  Perkins. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 

48 


THE     HUDSON-FULTON     CELEBRATION 

MEINDERT  HOBBEMA 

CONTINUED 

.  O  WOODED  LANDSCAPE  ("Holford  Landscape"). 

■        From    the    central   foreground    a    road    winds  to  the 
left  through  a  grove  01  trees.      On  each  side  of  the  road 
is  a  pool  of  water ;   to  the   right  a  steep  slope   overgrown 
with  young   trees,  a  footpath  running  along  the   crest ;    at 
the  extreme  right  a  vista  of  distant  fields.      In  the  centre, 
a  woman   and  two   men ;   back  of  this  group  a  fisherman, 
and  on  the  road  at  the  right  and  left  other  figures.      The 
horizon  is  placed  at  about  one  third  of  the  picture's  height 
and  large  cumulus  clouds  are  drawn  in  the  sky. 
Signed  on  the  lower  right:    Meindert  Hobbema,  l66j. 
Canvas:    H.  36  inches;   W.  50  inches. 
Smith  Suppl.,  Nos.  724,  725  ;   Waagen,  Vol.  II,  p.  202. 
Exhibited  British  Institution,  1840,  1851. 
Manchester  Art  Treasures,  1857. 
British  Institution,  1862. 
Royal  Academy,  London,  1887. 

Collection  of  Mr.  Charles  Cobb  of  Dublin  until  1830. 
Collection  of  Mr.  R.  S.  Holford,  London. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

49 


THE      HUDSON -FULTON     CELEBRATION 

MEINDERT  HOBBEMA 

CONTINUED 

0  COTTAGE  AMONG  THE  TREES.  A  path  winds 
*s  from  the  foreground  toward  the  distance;  on  both  sides 
cottages  among  the  trees.  At  the  left  in  the  foreground  a 
large  group  of  trees,  through  which  is  seen  a  brick  cottage 
in  strong  sunlight.  At  the  door  stand  a  man  and  a  bov.  In 
the  shadow  of  the  trees  a  man  in  a  red  jacket  reclines  at  the 
feet  of  a  woman;  a  second  man  stands  near  by.  Other  figures 
in  the  road.  Blue  sky  with  white  clouds. 
Signed  on  the  lower  left:  M.  Hobbema  l66j. 
Panel:    H.  30  inches;   W.  43^2    inches. 

Probably  identical  with  Smith,  No.  86,  although  there  are 
some  variations  in  the  description. 
Cat-  of  Mr.  H.  C.  Frick's  paintings,  No.  19. 
Exhibited  at  the  Royal  Academy,  London,  1882. 
Collection   of  William   Blathwayt,  near   Bristol,   England, 
1834. 

Collection  of  G.  W.  Blathwayt,  1882. 
Collection  of  W.  T.  Blathwayt,  Durham  Park,  1901. 

.     .      .    .  .  :.     i__". . ..  si 


Lent  by  Mr.  Henry  C.  Frick,  New  York. 

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THE      HUDSON-FULTON     CELEBRATION 

MEINDERT  HOBBEMA 

CONTINUED 

-0  WOODED   ROAD.      The  road  leads  from  the  left 

3        of  the  foreground  to  the  distance,  branching  off  near 

the  centre  to  two  cottages  at  the  left  standing  among  groups 

of  oak  trees ;   beyond  the  trees  other  cottages.      At  the  left 

in    the    shadow    a  seated    woman    speaking   with    a   man ; 

bevond  a   group  of  three  on  the  road,  and  in  the  distance 

other  figures. 

Signed  on  the  left:    M.  Hobbema    f.    1 66—  (the   last  figure 

illegible). 

Canvas:   H.  40  inches;   W.  50  inches. 

About  1665. 

Collection  of  Sir  Richard  Ford. 

Collection  of  Sir  Richard  Fowler. 

Sale  Sir  Richard  Fowler,  1892. 


Lent  by  Mrs.  William  L.  Elkins,  Philadelphia. 

51 


THE     HUDSON-FULTON      CELEBRATION 

MEINDERT    HOBBEMA 

CONTINUED 

-T  THE    WATER-MILL    ("Trevor   Landscape").      A 
•J      wooded  landscape   with  a  large  group  of  trees  in  the 
foreground  on  the  right  bank  of  a  mill-stream.     In  the  middle 
distance  a  group  of  cottages  and  a  mill  surrounded  by  trees ; 
beyond  the  mill  an  open  space  in  bright  sunlight;   at  the 
right,  on  a  road  leading  to  the  ford,  a  man  and  a  bov ;   near  the 
water  a  woman  in  a  blue  skirt,  assisted  by  a  man,  leads  a  cow 
into  the  stream.      On  the  left  a  sedgy  bank  with  a  fallen  tree 
and  a  wooden  fence.      A  gray,  clouded  sky. 
Signed  in  the  left  corner  :   M.  Hobbema  l66j. 
Canvas:   H.  39  inches;   W.  57  inches. 
The   cow  and  the   figures   of  the  man  and  woman  are  by 
Adriaen  van  de  Velde,  the  other  figures  are  by  Hobbema. 
Exhibited  at  the  Royal  Academy,  London,  1882. 
Collection  of  the  fourth  Baron  Trevor  (1701—83). 
Sale  Lady  Hampden,  London,  1834. 
Collection  of  Mr.  John  Walker  of  Bearwood. 
Collection  of  Sir  Edgar  Vincent,  London. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

52 


THE      HUDSON-FULTON      CELEBRATION 

MEINDERT  HOBBEMA 

CONTINUED 

-~  ROAD  IN  THE  WOODS.  A  road  in  the  centre 
J  of  the  canvas  leads  through  the  woods.  On  the  left, 
beneath  a  group  of  trees  in  autumn  foliage,  is  a  peasant's 
cottage  with  a  girl  standing  in  the  open  door  conversing 
with  a  woman  and  child.  On  the  road  beyond  the  cottage 
are  two  pedestrians,  a  vehicle  and  a  horseman;  in  the 
foreground  a  huntsman  in  a  red  coat  with  two  dogs.  On 
the  right  a  small  hut. 

Signed  in  the  right  lower  corner  :   M.  Hobbema. 
Canvas:    H.  37^2    inches;   W.  $1%   inches. 


Lent  by  Mr.  George  J.  Gould,  New  York. 

53 


THE      HUDSON-FULTON      CELEBRATION 

PIETER  DE  HOOCH 
Born  at  Rotterdam,  1629.  Died  at  Amsterdam  soon  after 
1667.  Said  to  be  a  pupil  of  Nicolaes  Berchem.  His  early 
works  show  the  influence  of  the  soldier  painters  of  the 
Frans  Hals  school  and  of  the  pupils  of  Rembrandt,  espe- 
cially Karel  Fabritius.  He  first  worked  mostly  at  Delft, 
later  at  Amsterdam  (from  about  1665).  Genre  and  por- 
trait painter. 

-*  r*   THE  VISIT.      A  girl,  dressed  in  a  red  jacket,  trimmed 

«J*3  with    white   fur,   a   blue  skirt   and   a    white  apron,  is 

standing  beside  a   large   window   and   close   to   a  table.      A 

young  man,  dressed  in  white,  stands   behind   the   table  and 

gazes  at  her  as  she   pours   out  a  glass  of  wine.      Seated   at 

the  right  of  the  table  is  a  man  in  a  black  cloak,  with  long 

curls  which  conceal  his  features.      He  holds  by  the  arm  a 

girl   seated  near  him.      His   broad-brimmed  hat  lies  in  the 

right  foreground.      A   bed,  over   which  hangs  the   portrait 

of  a  man,  stands  in  the  right  background.      A  marine  view 

on  the  wall  towards  the  left. 

Panel:    H.  27  inches;   W.  22^    inches. 

About  1658. 

Smith,  No.  34. 

Hofstede  de  Groot,  No.  192. 

Sale  F.  Delessert,  Paris,  1869. 

Sale  B.  Narischkine,  Paris,  1883. 

Sale  Secretan,  Paris,  1889. 


Lent  by  Mrs.  Henry  O.  Havemeyer,  New  York. 

54 


THE     HUDSON-FULTON      CELEBRATION 

PIETER  DE  HOOCH 

CONTINUED 

-  .  WOMAN  AND  CHILD  IN  COURTYARD.     A 

J   '   servant-girl  wearing  a  light-brown  jacket  and  a  white 

apron  over  a  red  skirt  is  crossing  a  courtvard  with  a  little 

girl  at  her  side.      She  carries  a  flat  basket  in  her  right  hand, 

a  jug  in  her  left,  and  looks  at  the  child,  who  is  holding  a 

bird-cage.      Both  are  going  towards  a  pump  built  against 

the  wall  in  the   left   foreground.      In  the  middle  distance 

the  town  wall  is  seen,  above  which  are  tree-tops.      On  the 

right  a  lady,  and  two  gentlemen  wearing  slouch  hats,  are 

seated  in  an  arbor  drinking  wine. 

Signed  on  the  lower  left  hand:    P.  de  Hooch. 

Canvas:   H.  29  inches;   W.  26  inches. 

About  1660. 

The  scene  is  laid  in  a  courtyard  near  the  city  wall  at  Delft. 

Hofstede  de  Groot,  No.  294. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 

55 


THE     HUDSON-FULTON     CELEBRATION 

PIETER   DE  HOOCH 

CONTINUED 

__  THE  BEDROOM.  A  young  woman  in  a  red  bodice 
3D  with  a  white  kerchief  over  her  head  stands  on  the 
right  as  she  takes  some  clothes  from  a  wooden  box-bed 
and  throws  them  over  a  chair.  She  stands  in  profile  and 
smiles  at  a  little  girl  in  the  open  doorway  on  the  left,  who 
holds  an  apple  in  her  hand.  The  child's  figure  is  illumined 
from  a  high  window  on  the  left  and  from  a  door*  in  the 
background.  This  door  leads  from  a  little  anteroom  into 
the  open  air,  where  walls  and  garden  hedges  are  visible. 
In  the  left  foreground  a  table  with  a  jug.  On  each  side 
of  the  door  a  chair. 
Canvas:  H.  20  inches;  W.  23  inches. 
About  1660. 

A  nearly  identical  picture  hangs  in  the  Museum  at  Karls- 
ruhe.     Both  pictures  are  originals. 

Waagen,  Vol.  II,  No.  71;   Hofstede  de  Groot,  No.  78. 
Sale  S.  T.  Stinstra,  Amsterdam,  1822. 
Sale  Lord  Radstock,  London,  1826. 
Collection  of  Lord  Stafford,  London. 
Collection  of  C.  Scarisbrick,  London,  1861. 
Sale  Adrian  Hope,  London,  1894. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
56 


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THE      HUDSON-FULTON     CELEBRATION 

PIETER  DE  HOOCH 

CONTINUED 

-  /C  CAVALIERS  AND  LADIES.  A  cavalier  dressed  in 
«•}  black  stands  in  the  middle  of  a  room,  with  marble-tiled 
floor  and  a  high  window,  in  conversation  with  a  lady  seated 
on  his  left  holding  a  glass  of  wine.  A  gentleman  in  gray 
seated  at  the  table.  A  page  in  red  holding  a  jug  in  his  hand 
stands  behind  the  lady  on  the  left.  On  the  right,  a  lady 
in  blue  and  a  gentleman  in  light  brown,  with  his  back 
toward  the  spectator,  are  seated  at  the  table  playing  cards. 
The  light  falls  from  the  window,  through  which  two  houses 
are  visible,  and  from  another  window  in  the  left  which  is 
concealed  by  a  cupboard.  The  walls  are  hung  with  Flem- 
ish tapestries,  and  a  bed  with  green  hangings  stands  against 
the  right  wall. 

Signed  on  the  lower  right  hand :   P.  de  Hooch. 
Canvas:   H.  25  inches;   W.  29^   inches. 
About  1665. 

Hofstede  de  Groot,  No.  217. 
Sale   La  Neuville,  Paris,  181  3. 


Lent  by  Mr.  William  T.  Blodgett,  New  York. 

57 


THE     HUDSON-FULTON     CELEBRATION 

PIETER  DE   HOOCH 

CONTINUED 

-_  THE   MUSIC   PARTY.      On  a   terrace    leading    at 
*■}  '    the  rear  into  a  park  and  sheltered  by  a  curtain  looped 
against  a  pillar,  a  young  lady  is  seated  singing;    she  wears 
a  white  silk  dress  and  marks  time  with  her  right  hand.      A 
cavalier  seated  at  the  opposite  side  of  the  table  accompanies 
her  on  the  lute.      A  young  lady,  dressed  in  blue,  stands  rest- 
ing her  hand  on  the  table,  which  is  covered  with  a  dark-red 
Persian   rug;   another,   dressed  in  red,  carrying  a  small  lute 
in  her  right  hand,  advances  through  a  door   on   the   right. 
Beyond   the   park  a   building    resembling   the   Amsterdam 
Town  Hall  is  visible.      Evening  sky. 
On  the  right  hand  the  monogram  PH. 
Canvas:    H.   16^    inches;   W.  32^    inches. 
About  1665  —  70. 

Smith  Suppl.,  No.  13;   Hofstede  de  Groot,  No.  136. 
Sale  Nieuwenhuys  (Brussels)  in  London,  1833. 
Sale    Count  R.  de  Cornelissen,  Brussels,  1857. 
Sale    Gilkinet,  Paris,  1863. 
Sale    Vicomte  de  Buisseret,  Brussels,  1891. 
Collection  of  Baron  Konigswarter  in  Vienna. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 
58 


.    .' 

i 

; 

9*                                            l^H               .^^fllflj 

v  1 

STILL    LIFE    BY   WILLEM    KALF 


THE      HUDSON-FULTON      CELEBRATION 

WILLEM  KALF 
Born  in  Amsterdam  in  1621  or  1622.      Died    about   1693. 
Pupil    of  Hendrick    Pot.      At    times  under   the    influence 
of  Rembrandt.      Painter  of  interiors  on  a  small  scale  and 
of  still  life. 

-.  O  STILL  LIFE.  A  chased  silver  dish  and  a  Chinese 
*J  bowl,  decorated  in  blue, containing  a  half-peeled  lemon, 
a  peach,  a  melon  and  some  grapes,  stand  on  a  table  covered 
with  a  Smyrna  cloth;  behind  them  a  shell  beaker  and  a 
Venetian  glass  containing  wine.  In  the  left  foreground  a 
high  golden  cup,  its  cover  lying  beside  it,  a  silver  sugar-box 
and  a  second  Venetian  glass.  On  the  corner  of  the  table 
is  a  watch.  The  gold  and  silver  vessels  are  excellent 
examples  of  the  Dutch  and  German  late  Renaissance. 
Signed  on  the  lower  left:  Kalf  (the  K  and  the  Christian 
name  hidden)  1662. 
Canvas:   H.  46  inches;   W.  40  inches. 

A  work  of  similar  style  painted  in  the  same  year  in  the 
Berlin  Museum. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
59 


THE  HUDSON -FULTON  CELEBRATION 

PHILIPS  KONINCK 

Born  at  Amsterdam,  1619.  Died  there  in  1688.  Pupil  of 
Rembrandt.  Worked  at  Amsterdam,  sometimes  at  Rotter- 
dam.     Painter  and  etcher  of  landscapes,  portraits  and  genre. 


59 


THE  DUNES  ("The  Valley  of  the  Rhine  near 
Arnheim").  In  the  foreground  a  road  leads  through 
a  park  bevond  a  building  with  a  cupola.  On  the  left  of  a 
stream  of  water  rises  a  steep  bank  on  the  other  side  of  which 
is  a  hollow,  with  trees  and  houses  in  deep  shadow.  In  the 
middle  distance  other  houses.  The  plain  stretching  out 
toward  the  horizon  is  traversed  by  the  winding  river.  On 
the  right,  in  the  distance,  the  dunes.  In  the  foreground 
a  man  fishing  on  the  banks  of  the  stream,  a  man  with  a 
panier  and  a  peasant  with  a  bundle  on  her  head.  Broad 
expanse  of  sky  with  clouds  which  cast  irregular  shadows 
over  the  plain. 
Canvas:    H.  £2%   inches;   W.  66^   inches. 


Lent  by  Sir  William  van  Home,  Montreal. 
60 


THE     HUDSON-FULTON      CELEBRATION 

JUDITH  LEYSTER 

Born  probably  at  Haarlem  about  1600—05.  Died  about 
1660.  Pupil  of  Frans  Hals.  Wife  of  the  genre  painter 
Jan  Miense  Molenaer.  Worked  at  Haarlem,  Amsterdam 
and  Heemstede.      Painter  of  genre  and  portraits. 

/CQ  THE  GAY  CAVALIERS.  A  youth,  drinking  out 
of  a  jug,  is  seated  on  the  left-hand  side  of  a  little  table 
on  which  a  light  is  burning.  He  wears  light-blue  trousers 
and  a  dark-brown  coat.  His  companion  stands  on  the 
right  singing,  holding  a  pipe  aloft  in  his  right  hand  and  in 
the  left  a  beer-jug  upside  down.  He  is  clothed  from  head 
to  foot  in  bright  red.  Under  his  coat  one  catches  a  glimpse 
of  a  blue  waistcoat  and  open  shirt.  Dark-gray  background. 
Canvas:  H.  34  inches;  W.  28^  inches. 
Collection  of  Hoogendyck,  The  Hague. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
61 


THE      HUDSON-FULTON      CELEBRATION 

NICOLAES  MAES 

Born  at  Dordrecht,  1632.  Died  at  Amsterdam,  1  693.  Pupil 
of  Rembrandt  about  1648  —  52;  later  while  at  Antwerp  he 
came  under  the  influence  of  the  Flemish  and  French  portrait 
painters.  Worked  at  Dordrecht  and  Amsterdam.  Genre 
and  portrait  painter. 

fa  PORTRAIT  OF  A  MAN.  Three-quarters  length. 
Standing,  the  figure  turned  slightly  to  the  left,  facing 
the  spectator.  He  has  long  dark  hair;  his  right  hand  rests 
on  a  stone  pedestal,  and  the  left  is  in  the  folds  of  a  black 
cloak  finished  at  the  neck  with  a  lace-trimmed  collar. 
Canvas:  H.  49  inches;  W.  38^  inches. 
About  1670. 


Lent  by  Mr.  Thatcher  M.  Adams,  New  York. 

62 


PORTRAIT   OF    A    MAX    BY    NICOLAES    MAES 


OLD    WOMAN    BY    XICOLAES    MAES 


THE      HUDSON-FULTON     CELEBRATION 

NICOLAES  MAES 

CONTINUED 

/C~  OLD  WOMAN.  Half-length,  the  figure  turned 
slightly  to  the  left.  An  old  woman  with  eye-glasses, 
seated  at  a  table  upon  which  her  arms  rest,  reads  from  an 
open  book.  She  wears  a  red  bodice  and  a  black  cap  and 
has  a  cape  of  ermine  wrapped  about  her  shoulders.  The 
table  is  covered  with  an  Oriental  carpet  and  on  it  are  three 
books,  two  bound  in  black  leather  and  one  in  vellum.  Gray 
background. 

Panel:   H.  27 V4   inches;   W.  25^   inches. 
About  1650—55. 
Formerly  attributed  to  Jan  Lievens. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
63 


THE  HUDSON -FULTON  CELEBRATION 

GABRIEL  METSU 
Born  at  Leyden,  1629—30.  Died  at  Amsterdam,  1667. 
Probably  a  pupil  of  Gerard  Dou;  later  under  the  influence 
of  Rembrandt  and  Terborch.  Worked  at  Leyden  and 
Amsterdam.  Painter  of  genre,  religious  and  mythologi- 
cal subjects. 

/C^  A  MUSIC   PARTY.      In  the  centre,  at  the  left  of  a 
•3  table,  a  seated  lady,  dressed  in  orange  silk  with  a  blue 
shawl  around  her  shoulders,  holds  a  lute  in  her  left  hand  as 
she  hands  a  cavalier  standing  behind  her  a  sheet  of  music; 
he  leans  in  an  open  window,  against  the  light,  and  wears  a 
black  cap     with    a   red  feather  and  a   dark-red,   gold-em- 
broidered, jacket;   on  the  right  a  fair-haired  cavalier,  in  a 
black   costume,  tunes   a   cello.      In   the    background    some 
steps  lead   to  a  room   beyond,   where  a  maid-servant   in  a 
blue-gray  dress  stands  in  the  door.      On  the  left,  over  the 
window,  a  dark  gray-blue  curtain. 
Signed  on  a  music-stand  on  the  floor :    G.  Metsu  l6jg. 
Canvas:   H.  24  inches;   W.  21  inches. 
Smith,  No.  53;   Hofstede  de  Groot,  No.  164. 
Described  by  Descamps  (II)  in  the  Voyer  Collection. 
Exhibited  at  the  Royal  Academy,  London,  1832. 
Sale  E.  Hooft,  widow  of  W.  Valkenier,  Amsterdam,  1796. 
Sale  Robit,  Paris,  1801. 
Sale  Zachary,  London,  1828. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

64 


A    VISIT    TO    THE    NIRSKRY    BY    OABRIEI.    METSU 


THE     HUDSON-FULTON      CELEBRATION 

GABRIEL  METSU 

CONTINUED 

A  a   A   VISIT  TO   THE   NURSERY.     At  the  right  a 
■   young  mother  with  a  red  velvet  jacket  sits  in  profile, 
holding  her  infant.      At  her  right  stands  her  husband  in  a 
gray  doublet  with  slashed  sleeves   and  blue  ribbons,  raising 
his  hat  to  salute  a  lady,  who  enters  the  room  followed  by  a 
maid-servant  carrying  a  chair  and  a  foot-warmer;    the  lady 
wears  a  silk  overdress  with  short  sleeves  and  red  ribbons,  a 
silver-embroidered  skirt  and  a  black  veil.      At  the  back  sits 
the  old  mother  with  her  right  hand  on  the  green-covered 
cradle.      On  the  right  a  table  covered  with  a  bright  red  and 
blue  Ispahan  carpet.      Behind  the  group  is  a  chimneypiece 
with  a  marine  in  the  style  of  Everdingen  hanging  above  it. 
Signed  above  the  door:  G.  Metsu  1 66 1. 
Canvas:    H.  30  inches;   W.  31^2    inches. 
Described  by  Houbraken  (III,  40)  and  Descamps. 
Smith,  No.  19;   Hofstede  de  Groot,  No.  no. 
Probably  the  picture,  then  in  the  cabinet  of  Jan  Jacobsz 
Hinloopen,  which  was  the  inspiration  of  the  poem  written 
by  Jan  Vos  in  1662. 

In  the  possession  of  Jan  de  Wolf,  The  Hague,  when  seen  by 
Houbraken  (before  171  8). 
Sale  Amsterdam,  1706. 
Sale  D.  Ietswaart,  Amsterdam,  1749. 
Sale  G.  Braamcamp,  Amsterdam,  1  77 1 . 
Sale  Due  de  Morny,  Paris,  1865. 
Collection  of  M.  Rudolphe  Kann,  Paris. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

65 


THE  HUDSON -FULTON   CELEBRATION 

AERT  VAN  DER  NEER 
Born  at  Amsterdam  in  1603.  Died  there  in  1677.  Influenced 
by  Jan  van  Goyen  and  Esaias  van  de  Velde.  Began  paint- 
ing rather  late,  his  earliest  work  163  5,  as  he  was  the  servant  of 
Heer  van  Arckel.  Worked  at  Amsterdam.  Painter  of  night 
and  winter  scenes. 

/C  p  SUNSET.  A  canal  leading  toward  the  distance,  with 
•^  village  houses  on  either  side;  at  the  right  of  the  back- 
ground is  a  church,  and  in  the  middle  distance  a  boat  with 
four  men.  At  the  left  a  windmill,  and  in  the  foreground 
a  point  of  land  running  out  into  the  water,  where  two  men 
stand  looking  toward  the  horizon  and  near  them  a  fisher- 
man is  seated. 

Signed  on  the  left  with  the  monogram  A  V  D  N 
Panel:   H.  19^2    inches;   W.  31^   inches. 


Lent  by  Mr.  Theodore  M.  Davis,  Newport. 
66 


'^^j^ 

t^s 

J 

_<^HpLHii 

~  ^■^H 

y 
y, 

v. 

THE      HUDSON-FULTON     CELEBRATION 

AERT  VAN  DER  NEER 

CONTINUED 

/C  /C  MOONLIGHT.  A  canal  leads  from  the  foreground 
toward  the  horizon.  At  the  right  a  wooded  bank 
in  front  of  which  is  a  sailboat.  On  the  left  a  road  with 
village  houses  and  a  church ;  trees  in  autumn  foliage.  In 
the  foreground  at  the  right  a  rowboat  with  a  man  who 
wears  a  red  cap.  The  deep-blue,  slightly  clouded  evening 
sky  is  bright  at  the  horizon  with  the  yellow  light  of  the 
rising  moon,  which  is  reflected  in  the  water. 
Signed  on  the  left  of  the  foreground  with  the  monogram 
A  V  D  N 
Panel:    H.  12^  inches;   W.  15^    inches. 


Lent  by  Mr.  Ferdinand  Hermann,  New  York. 

67 


THE      H  U  D  SON-  F  U  I.  T  O  N      C  E  L  E  B  R  A   I    I  O  N 

AERT  VAX  DER  NEER 

CONTINUED 

/C  —  THE  FARRIER.  A  stream  of  water  broadening  out 
/  toward  the  horizon,  showing  the  reflection  of  the 
moon.  On  the  left,  in  the  shadow,  a  blacksmith's  shop 
where  the  smith  is  seen  working  near  a  lire.  On  the  right  an 
avenue  of  trees  and  in  the  foreground  a  woodpile;  near  an 
open  fire  stand  two  boys  and  a  man  smoking.  In  the  left- 
hand  corner  the  monogram  A  V  D  N 
Panel:    H.   19  inches;   W.  24%    inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

68 


- 

*v'^wwah  ^l»  i*^  jB5       ■   •/  t 

• '  H  H  ■■  .''*-■''''"'  1    1 

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B 

!§»?*           ^^pW^K  '•J-^ 

■    ■•'. 

Ifl             i^ia^^rf              "^ 

Kg 

^^tBJ           Bl        I^^^^S 

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^-*       J^H 

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BkKb/^^>4y     ^^A  1  "^**i   •      ^'*     si'^j 

*"  ^^jKQrJlVlT^jar  B ' "Zfc  jStf**^*^ 

THE     HUDSON-FULTON     CELEBRATION 

ADRIAEN  VAN  OSTADE 
Born  at  Haarlem,  1610.      Died    there  in  1685.      Pupil   of 
Frans  Hals  and  influenced  by  Brouwer  and  later  by  Rem- 
brandt.     Worked    at    Haarlem.       Painter    and    etcher    of 
genre  scenes. 

/CO  THE  OLD  FIDDLER.  Through  an  open  shed  is 
seen  an  adjoining  cottage,  before  which  an  old  fiddler, 
in  a  blue  coat,  plays  to  a  group  of  children ;  an  old  woman 
leans  on  the  half-open  door  of  the  cottage ;  at  the  left  a 
group  of  children  throwing  dice,  and  near  them  a  dog  and 
some  poultry.  In  the  shadow  of  the  building  at  the  right, 
three  men  are  seated  at  a  table,  one  pouring  wine  from  a 
flagon ;  beside  them  a  laughing  woman ;  at  the  extreme 
right,  in  deep  shadow,  an  old  pump. 
Signed  at  the  lower  left:  A  v  Ostade  1641 
Canvas:   H.  26  inches;   W.  33  inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

69 


THE      HUDSON-FULTON      CELEBRATION 

ADRIAEN   VAX  OSTADE 

CONTINUED 

/CQ  THE  COTTAGE  DOORYARD.     On  the  right  a 
7   vine-covered   cottage   with   an  open  casement ;   at  its 
side  a  chicken-coop  and  pigeon-house,  which  adjoin  a  wall 
surmounted  bv  a  picket  fence  extending  to  the  left.      Lean- 
ing against  the  open  door  of  the  wall  stands  a  peasant  looking 
at  an  old  woman  who  sits  at  his  left  preparing  vegetables; 
at  his  right,  a  woman  and  child.     In  the  foreground  a  girl 
in  a  blue  bodice  and  a  yellow  skirt  watches  a  boy  playing 
with   a   dog.      At  the  extreme  right  some  red  and   white 
clothes  are  hung  on  a  line,  and  lying  on  the  chicken-coop, 
near  them,  a  bunch  of  carrots  and  a  towel. 
Signed  at  the  left  of  the  foreground :    A  v  Ostade  l6jj 
Canvas:    H.  ij}i    inches;   W.  15^9    inches. 
Exhibited  at  the  Royal  Academy,  London,  181  5;   at  Man- 
chester, 1857. 

Smith,  No.  188;   Waagen,  Vol.  II,  p.  119;   Burger  (Man- 
chester), No.  3  1  5. 

Collection  of  Thomas  Hope,  London,  1829. 
Collection  of  Lord  Francis  Pelham  Clinton  Hope,  Deep- 
dene. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 

70 


THE     HUDSON-FULTON     CELEBRATION 

ISACK  VAN  OSTADE 
Born  at  Haarlem,  1621.      Died  there  in  1649.      Pupil  of 
his  brother  Adriaen.      Worked  at  Haarlem. 

—p.  THE  HALT.  At  the  front  of  an  inn  on  the  right, 
'  with  a  church  steeple  in  the  background,  several  horse- 
men have  halted ;  a  gentleman,  who  has  just  dismounted  from 
a  gray  horse  with  a  blue  velvet  saddlecloth,  converses  with 
another  at  his  right,  mounted  on  a  dun-colored  horse,  while  a 
peasant  is  putting  fodder  in  a  trough.  On  the  right  a  man 
sitting  on  a  bench  eating  soup;  at  the  left  other  figures 
and  poultry  before  a  small  cottage.  In  the  foreground  a 
woman  and  two  children. 

Signed  on  the  right:   hack  van  Ostade  1645. 
Panel:    H.  19^    inches;   W.  25  inches. 
Smith  Suppl.,  No.  177. 
Collection  of  Duchesse  de  Berri,  1837. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
71 


THE      HUDSON-FULTON      CELEBRATION 

I  SACK  VAN  OSTADE 

CONTINUED 

_T  COTTAGE  SCENE.  Before  a  cottage  shaded  by 
'  trees  a  sled  drawn  by  a  white  horse,  from  which  three 
men  are  unloading  casks  and  a  fourth  arranges  a  feed-box 
for  the  horse ;  three  children  are  watching  them.  The 
cottager  stands  in  the  doorway  looking  at  his  wife,  who 
is  sitting  outside  with  two  children  and  a  dog;  near  her  a 
traveler  is  seated  on  a  cask.  Other  figures  in  the  window 
of  the  house  and  on  the  left.  Further  back  a  cottage  is 
seen  among  the  trees.  The  figures  are  costumed  in  pale 
blues  and  yellows  with  red  touches.  Warm  golden  after- 
noon light. 

Signed  on  the  right:  /.  v.  Ostade  16—  (the  last  two  figures 
illegible). 

Canvas:    H.  2i?+    inches;    W.  31's    inches. 
About  1640—50. 


Lent  by  Mr.  William  T.  Blodgett,  New  York. 

72 


BARNYARD    SCENE    BY    PAULUS    I'OTTER 


THE      HUDSON-FULTON      CELEBRATION 

PAULUS  POTTER 
Born  at  Enkhuizen,  1625.      Died  at  Amsterdam  in  1654. 
Pupil  of  his  father,  Pieter  Potter,  and  Jacob  de  Wet.  Worked 
at  Delft,  The  Hague  and  from  1652  at  Amsterdam.    Painter 
and  etcher  of  landscapes  and  animals. 

-r>   BARNYARD  SCENE.      A  barnyard  with  a  stable  at 
'  " '  the  right,  where  a  man  and  a  white  horse  stand  in  the 
door;    at  the  left  of  the  door  a  tree,  near  which  a  woman  stands 
holding  a  nursing  child ;    beyond  her  a  man  helps  a  boy  to 
mount  a  horse.      At  the  left  a  distant  meadow  with  cattle  in 
sunlight.      In  the  foreground  a  dog  and  some  poultry. 
Signed  on  the  left:    Paulus  Potter f.  164.J 
Canvas:    H.  17  inches;   W.  14^   inches. 
Smith,  No.  87. 

Exhibited  in  the  British  Gallery  in  1  8  1  5. 
Collection  of  Philip  Henry  Hope,  London,  1834. 
Collection  of  Adrian  Hope,  sold  in  London,  1894. 


Lent  by   Mrs.  William  L.  Elkins,  Philadelphia. 

73 


THE   HUDSON -FULTON  CELEBRATION 

PAULUS  POTTER 

CONTINUED 

_~  CATTLE  IN  PASTURE.  On  a  dark-green  slope  in 
'  J  the  foreground,  under  an  oak.  tree  at  the  left,  stands 
a  brindle  cow;  at  its  right  three  other  cows,  two  standing 
and  a  white  one  lying  on  the  turf.  On  the  right  in  a  clear 
light,  a  distant  meadow  where  other  cattle  are  grazing. 
On  the  horizon  a  small  village  among  trees.  Cloudless 
sky. 
Panel:    H.  15%   inches;   W.  22%   inches. 


Lent  by  Mr.  Leon  Hirsch,  New  York. 

74 


THE   HUDSON -FULTON   CELEBRATION 

REMBRANDT  HARMENSZ  VAN  RIJN 
Born  in  Leyden  on  July  15,  1606.  Died  in  Amsterdam 
on  October  4,  1669.  Studied  under  Jacob  van  Swanen- 
burgh  in  Leyden,  and  under  Pieter  Lastman  in  Amster- 
dam. Lived  in  Leyden  till  1  6 3  1 ,  then  in  Amsterdam.  In 
1634  he  married  Saskia  van  Uilenburgh,  who  died  in 
1642.  His  second  wife  was  Hendriclqe  StofFels,  who  died 
in  1663.  Painter  and  etcher  of  portraits  and  religious  sub- 
jects; of  genre  pictures,  mythological,  allegorical  and  his- 
torical scenes. 

-  .   PORTRAIT  OF  HIMSELF.      Bust,  turned  to  the 
'     '    right.      He  wears  a  flat  cap  and  a  brown  coat  with  a 
reddish  undervest  finished  with  a  neckband. 
On    the    right   side    the    monogram  R  H  L  (almost  illeg- 
ible). 

Panel:    8%    inches;   W.  6f£   inches. 
Painted  about  1628. 
Collection  of  King  Leopold,  Belgium. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

75 


THE      HUDSON -FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

_-  PORTRAIT  OF  HIMSELF.     Bust,  turned  to  the 

*  ^  right.       He  wears  a  soft  cap  with  a  plume  and  a  dark 

cloak,  with  a  soft  neckband.      Around  the  shoulders  a  gold 

chain  with  a  medallion. 

Signed  at  the  left  with  the  monogram  R  H  L.  i6jj 

Panel:   H.  32^    inches;   W.  26  inches. 

From  an  English  collection. 

Klass.  d.  K.,  p.  33;   Onze  Kunst,  1907. 


Lent  by  Mr.  E.  D.  Libbey,  Toledo,  O. 
76 


THE     HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

-/C  PORTRAIT  OF  HIMSELF.  Bust,  turned  to  the 
'  left,  the  head  facing  the  spectator.  A  dark-purple 
cap,  with  a  blue-black  cock's  feather,  on  the  dark  hair. 
Dark-brown  cloak  over  which  is  a  steel  gorget  with  a  dull 
green  neck-cloth  above  it.  Under  the  cloak  a  triple  gold 
chain  is  seen  across  a  dark-brown  doublet.  Gray  back- 
ground. 

Signed  half-way  up  the  panel  on  the  left  with  the  mono- 
gram R  H  L  i6ji 

Panel:   H.  22f£   inches;   W.  lj%  inches. 
Bode  R.,  No.  548  ;  Klass.  d.  K.,  p.  49. 
Collection  of  Mr.  John  Corbett,  London,  1904. 
Collection  of  Jhr.  Henry  Teixeira  de  Mattos,  Amsterdam. 


Lent  by  Mr.  Frank  G.  Logan,  Chicago. 

77 


THE     HUDSON-FU  L  TON1     CELEBRATION 

REMBRANDT 

CONTINUED 

--  NICOLAES  RUTS.  Rather  more  than  half  length. 
'  '  A  man  about  fifty  years  of  age,  with  a  short  beard, 
stands  behind  a  purplish-red  leather  chair,  on  the  back  of 
which  he  rests  his  right  hand,  while  he  holds  a  letter  in 
his  left.  A  sleeveless  violet  mantle  lined  and  trimmed 
with  fur  partly  conceals  his  black  doublet ;  he  wears  a  broad 
gauffered  ruff  and  has  a  large  fur  cap  on  his  head.  Rather 
a  light  background. 

Signed  with  the  monogram   R  H  L  l6jl 
Canvas:    H.  47*4    inches;    W.  35^    inches. 
The  title  of  this  picture  is  derived  from  the  inscription  on 
a  drawing  by  A.  Delfos  in  the  collection  of  Dr.  C.  W.    ). 
Pape  of  The  Hague:    "Het   portrat  van    Nicholaas    Ruts, 
levens  groot  door  Rembrandt  van   Rijn,  1632,  A.   Delfos 
1799,  thans  bij  den  Heer  Joost  Romswinckel  te  Leiden." 
Yosmaer,  pp.  490,  495;  Dutuit,  p.  45,  No.  226;    Michel, 
p.  557;   Bode  R.,  No.  51  ;   Klass.  d.  K.,  p.  66. 
Collection  of  Susannah  Ruts,  the  widow  of  Johannes  Bod- 
den,  who  was  married  in  1636  to  Pieter  van  der  Hagen. 
(Prot.  Not.  L.  Lamberti,  Amsterdam.) 
Collection  of  Joost  Romswinckel,  Leyden,  1799. 
Collection  of  the  Queen  of  the  Netherlands. 
Collection  of  King  William  II  of  Holland,  1850. 
Collection  of  Adrian  Hope,  sold  in  London,  1894. 
Collection  of  Mr.  Joseph  Ruston,  Lincoln. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

78 


THE   HUDSON -FULTON   CELEBRATION 

REMBRANDT 

CONTINUED 

-O  PORTRAIT    OF  A    MAN.     Bust.     A   man  with 

I        grizzled  hair   and   a   thin   brownish  beard    is   turned 

slightly  towards  the  right  and  looking  straight  before  him. 

He  wears  a  black  doublet  and  a  small  ruff.      Dark-grayish 

background,  lighter  on  the  right. 

Signed  on  the  right:    R.  van  Rijn,  l6j2,  aet.  40. 

Oval  panel:    H.  28 3S    inches;   W.  205^    inches. 

Vosmaer,  pp.  493,  495;   Dutuit,  p.  52,  No.  235;   Michel, 

p.  562;   Bode  R.,  No.  81  ;   Klass.  d.  K.,  p.  82. 

Exhibited  at  Palais  du  Corps  Legislatif,  Paris,  1874. 

Collection  of  Tolozan,  Paris,  1801. 

Collection  of  Robit,  Paris,  1801. 

Collection  of  Montaleau,  Paris,  1802. 

Collection  of  Collot,  Paris,  1855. 

Collection  of  Baron  Seillieres,  Paris. 

Collection  of  Princesse  de  Sagan,  Paris. 


Anonymous  Loan. 
79 


THE      HUDSON -FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

_0  THE  NOBLE  SLAV.  Three-quarters  length.    Stand- 
'  /   ing.      A    man    ahout  fifty  with    gray   moustache   and 
imperial.      He  wears  pearls   in    his  ears   and  a  high  light- 
colored    turban  fastened  with  gold  ornaments   and  adorned 
with  a  clasp  and  a  pendent  horsetail.      He  is  dressed  in  a 
voluminous  embroidered  cloak,  and  over  it  a  many-colored 
fringed   shawl.      A   golden   ornament  on    his   breast.      His 
left  hand,  concealed   by  his  cloak,  is  laid   on  his   hip;    his 
right  hand  grasps  a  stick. 
Signed  on  the  lower  right:   R  H  L  1632 
Canvas:    H.  59  inches;   W.  47S.,    inches. 
Smith,  No.  285  ;     Vosmaer,  pp.   1  16,  495;     Dutuit,  p.  55, 
No.  ^65;   Bode  R.,  No.  145;   Klass.  d.  K.,  p.   120. 
Collection  of  Paul  Methuen,  Corsham. 
Collection  of  King  William  II  of  Holland,  sold  in  1850. 
Collection  of  Tomline,  Orwell  Park. 
Collection  of  Mr.  McKay  Twombly,  New  York. 


Lent  by  Mr.  W.  K.  Vanderbilt,  New  York. 
80 


SAINT    JOHN    THE    BAPTIST    BY    REMBRANDT 


THE     HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

O^  SAINT  JOHN  THE  BAPTIST.  Bust  of  a  young 
man  with  thick  dark-brown  hair  and  beard.  A  brown 
mantle  is  thrown  across  his  gray  hair-shirt.  His  reed  cross 
appears  against  the  light  background  to  the  right. 
Signed  on  the  left,  above  the  shoulder:  Rembrandt  ft.  l6j2. 
Panel:  H.  25^  inches;  W.  iSj{  inches. 
In  the  inventory  of  the  bankrupt  Jan  Ingels,  an  advo- 
cate of  Amsterdam,  dated  January  7,  1654,  the  following 
entry  occurs:  "Im  vestibul  (Voorhuis):  Een  St.  Jan  van 
Rembrandt." 

Dutuit,  p.  47,  No.  46;  Michel,  p.  561  ;    Bode  R.,  No.  134; 
Klass.  d.  K.,  p.  113. 

This  is  not  the  Saint  John  the  Baptist  mentioned  by  Smith, 
No.  137,  and  mezzotinted  by  Vallerant  (Wessely,  No.  78). 
Exhibited  at  the  Royal  Academy,  London,  1  876,  No.  239. 
Collection  of  Lord  Palmerston. 
Collection  of  Lord  Mount  Temple,  Broadlands. 


Lent  bv  Mr.  Charles  Stewart  Smith,  New  York. 

81 


THE  HUDSON -FULTON   CELEBRATION 

REMBRANDT 

CONTINUED 

Oy  SASKIA.  Bust,  turned  to  the  right.  She  wears  a  dark- 
blue  mantle  with  a  narrow  gold  trimming  at  the  throat, 
showing  a  fine  plaited  chemisette  beneath.  A  gold  chain 
hangs  across  her  breast.  A  transparent  veil  with  a  colored 
pattern  rests  on  her  golden-red  hair  and  falls  over  her 
shoulders  and  on  her  back.  A  pearl  on  a  long  loop  in  her 
ear. 

Panel:    H.  233^    inches;   W.   18  inches. 
Painted  about  1633. 

Smith,  Nos.  502,  576,  578;   Bode  R.,  No.  153;    Klass.  d. 
K.,  p.  129. 

Collection  of  De  Gaignat,  Paris,  1768. 
Collection  of  De  Calonne,  Paris,  1788. 
Collection  of  De  Choiseul-Praslin,  Paris,  1793. 
Collection  of  Bouc  Cleeve. 
Collection  of  Wells,  Redleaf,  1890. 
Collection  of  Bingham-Mildmay,  London,  1893. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
82 


8 


THE     HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

ry  PORTRAIT  OF  A  YOUNG  MAN.  Bust,  turned 
to  the  right  and  looking  straight  before  him.  He 
wears  a  black  doublet  with  a  flat  plaited  collar;  his  dark 
hair  is  partly  hidden  by  a  broad-brimmed  black  slouch  hat. 
Panel:  H.  24%  inches;  W.  20^  inches. 
Painted  about  1633. 
Companion  picture  to  No.  83. 

Waagen,  Vol.   Ill,  p.    207;   Bode  R.,  No.  90;     Klass.     d 
K.,  p.  90. 

Exhibited  at  Leeds,  1868. 

Collection  of  Sir  Simon  Clarke,  London,   1840. 
Collection  of  Lord  Northwick,  Cheltenham,  1859. 
Collection  of  Sir  Robert  Napier,  London,  1877. 


Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 
83 


THE     HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

0~  PORTRAIT  OF  A  YOUNG  WOMAN.  Bust, 
•3  turned  slightly  to  the  left  and  looking  straight  before 
her.  She  wears  a  dark  dress  with  a  large  rurf,  a  string  of 
pearls  around  her  throat  and  a  pearl  in  each  ear.  Her 
dark  hair  is  combed  back  from  her  forehead  and  arranged 
under  a  small  cap  with  a  lace  border  at  the  back  of  her 
head. 

Canvas:    H.  24^  inches;   W.  2o}4    inches. 
Painted  about  1633. 
Companion  picture  to  No.  82. 

Waagen,  Vol.  Ill,  p.  207;  Bode  R.,  No.  91;  Klass.  d.  K.,  p. 
91. 

Exhibited  at  Leeds,  1868. 

Collection  of  Sir  Simon  Clarke,   London,  1840. 
Collection  of  Lord  Northwick,  Cheltenham,  1859. 
Collection  of  Sir  Robert  Napier,  London,  1877. 


Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 

84 


PORTRAIT    OF   A    YOUNG    WOMAN*    BY    REMBRANDT 


THE       HUDSON-FULTON       CELEBRATION 

REMBRANDT 

CONTINUED 

O   ,   PORTRAIT  OF   A   MAN.     Bust.     A  middle-aged 
'    man,  turned  slightly  to  the  right,  facing  the  spectator. 
His  light  brown  hair  is  gray  at  the  temples  and  he  wears  a 
Henry  IV  beard.      Black  costume  with  a  white  ruff. 
Oval  canvas:    H.  26 u£    inches;   W.  21  inches. 
About  1632. 


Lent  by  the  Historical  Society,  New  York. 

85 


THE   HUDSON -FULTON   CELEBRATION 

REMBRANDT 

CONTINUED 

O-THE  MARQUIS  D'ANDELOT.  Three-quarter 
3  length.  Standing.  A  young  beardless  man  with  long 
dark  hair  stands  in  the  act  of  buckling  his  belt.  He  wears 
a  breastplate  and  greaves,  and  his  helmet  lies  on  a  table  to 
the  left.  His  sleeveless  corselet  displays  his  embroidered 
coat-sleeves  and  white  cuffs.  On  the  wall  to  the  right,  a 
piece  of  paper  on  which  the  word  PLAGAET  is  legible. 
Canvas:  H.  39^  inches;  W.  32^  inches. 
Painted  in  1634. 

Smith,  No.  284;    Dutuit,  p.  53,  No.  145;    Michel,  p.  561; 
Bode  R.,  No.  205;  Klass.  d.  K.,  p.  202. 
The  personality  is  identified  by  JanVeth  in  "Kunstchronik," 
June,  1909,  from  a  poem  on  the  portrait  in  "Le  Cabinet 
de  M.  de  Scudery,  Paris,  1646." 

Exhibited  in  the  Bristol  Gallery,  London,  1  8  1  8 ;  Exposition 
des  Cent  Chefs-d'ceuvres,  Paris,  1883. 
Collection  of  Greffier,  Paris,  1 79 1 . 
Collection  of  Robit,  Paris,  1801. 
Collection  of  George  Hibbert,  London,  1829. 
Collection  of  Blake,  London,  1846. 
Collection  of  Prince  Demidoff,  San  Donato,   1880. 
Collection  of  E.  Secretan,  Paris,  1889. 
Collection  of  Sutton,  New  York,  1892. 


Lent  by  Mr.  Richard  Mortimer,  New  York. 
86 


THE     HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

O/C  THE  FINDING  OF  MOSES.  A  landscape  repre- 
senting a  secluded  creek  on  the  Nile,  shut  in  by  lofty 
trees,  and  approached  on  the  left  by  two  or  three  steps  with 
a  low  balustrade;  on  the  lower  step  stands  a  basket  with  the 
infant  Moses.  The  daughter  of  Pharaoh  has  emerged  from 
her  bath  and  a  negress  attendant  wraps  a  white  drapery 
about  the  nude  form  of  her  mistress.  At  the  extreme  right 
a  bather  in  the  pool.  Four  companions  kneel  about  the 
infant  Moses.  The  garments  of  the  bathers,  draperies  in 
green,  blue  and  brown  tones,  are  spread  out  on  the  balus- 
trade, under  a  large  Oriental  umbrella.  Large  water-plants 
in  the  foreground  on  the  left.  The  golden  evening  light 
from  the  left  falls  on  the  group  of  figures. 
Canvas,  oval:  H.  17^  inches;  W.  23*4  inches. 
Painted  about  1635;  the  signatures  on  the  wall  to  the  left 
(now  illegible)  and  the  date  1656  are  additions  by  a  later 
hand. 

A    study    (pen-drawing)    for    the   central    figures    in    the 
possession  of  Dr.  Hofstede  de  Groot,  The  Hague. 
Smith,  No.  24;    Dutuit,  p.  47,  No.    17;    Michel,    p.   312, 
No.  555;  Bode  R.,  No.  195;  Klass.  d.  K.,  p.  167. 
Collection  of  Crozat,  Paris,  1751. 
Collection  of  Due  de  Choiseul,  Paris,  1772. 
Collection  of  Prince  de  Conti,  Paris,  1779. 
Collection  of  Boileau,  Paris,  1787. 
Collection  of  Robert  de  Saint- Victor,  Paris,  1822. 
Collection  of  Sir  Robert  Peel,  Drayton  Manor,  England. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
87 


THE      H  U  D  S  O  X  -  F  V  L  T  O  X      CELEBRATION 

REMBRANDT 

CONTINUED 

O-  SLAUGHTERED    OX.      In   the  foreground    of  a 
I    cellar  a  slaughtered  and  disemboweled  ox  hanging  by 
cords   from    a    pole.      On   the    floor  a  flat   dish  and   other 
utensils.      In  the  background  to  the  left,  a  window.      The 
light  comes  into  the  picture  from  above  on  the  left. 
Signed  below  on  the  right:    R.  l6jj. 
Panel:    H.  i8//£    inches;   W.   15  inches. 
Bode  R.,  No.  575;   Klass.  d.  K.,  p.  230. 
Collection  of  Duchteren,  Holland. 
Collection  of  van  der  Kellen,  Utrecht. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 

88 


THE      HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

OO  THE  GILDER  HERMAN  DOOMER.  Half- 
length.  Seated,  turned  half-way  to  the  right.  His 
right  hand,  in  shadow,  holds  the  cloak  that  hangs  from  his 
left  shoulder  across  his  breast.  He  has  a  moustache  and 
pointed  beard  and  wears  a  broad-brimmed  black  hat  upon 
his  short  hair.  An  unstarched  plaited  collar  falls  over  his 
black  cloak. 

Signed  below  on  the  right:    Rembrandt  f.  1640. 
Panel:    H.  28^    inches;   W.  2i*,4    inches. 
The  companion  portrait,  the  wife  of  the  Gilder,  Baartjen 
Martens,  is  at  the  Hermitage,  St.  Petersburg. 
Exhibited  at  the  Cent  Chefs-d'ceuvres,  Paris,  1883. 
Smith,   Nos.  334,  335;    Vosmaer,  pp.  205,  523;     Dutuit, 
p.  52,  No.  288;    Michel,  pp.  270,  561;    Moes,  Icon.  Ba., 
No.  2074;    Bode  R.,  No.  275;    Klass.  d.  K.,  p.  254. 
Anonymous  Collection  at  Geneva. 
Collection  of  Anthony  Cousin,  London,  1769. 
Collection  of  Van  Helsleuter,  Paris,  1802. 
Collection  of  Duke  of  Ancaster,  (?) 
Collection  of  Gentil  de  Chavagnac,  Paris. 
Collection  of  Due  de  Morny,  Paris,  1865. 
Collection  of  Duchesse  de  Sesto,  Madrid,  1882. 


Lent  by  Mrs.  H.  O.  Havemeyer,  New  York. 

89 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

Oq  PORTRAIT  OF  AN  OLD  WOMAN.  Half-length. 
7  An  old  woman  seated  in  an  armchair  and  looking  to 
the  left,  her  rigure  turned  slightly  in  the  same  direction. 
Her  elbows  rest  on  the  arms  of  the  chair,  her  hands  are 
clasped.  A  close  white  cap  with  projecting  shell-shaped 
side  pieces  appears  under  her  black  head-dress.  She  wears 
a  wide  soft  gauffered  ruff  and  narrow  cuffs,  a  black  jacket, 
trimmed  with  lur  in  front  and  on  the  shoulders,  over  a 
dark  dress. 

Signed  on  the  right:    Rembrandt  f.  1640. 
Panel:    H.  2J*4    inches;   W.  23^    inches. 
Dutuit,   p.    20;    Michel,  pp.  268,  561;  Bode  R.,  No.  278; 
Klass.    d.  K.,  p.  256. 

Collection  of  Gerrit  Muller,  Amsterdam,   1827. 
Collection  of  Comte  de  Robiano,  Brussels,  1837. 
Collection  of  D.  Nieuwenhuys,  Brussels. 
Collection  of  Prince  Demidoff,  Paris,  1868. 
Collection  of  Narischkine,  Paris,  1883. 
Collection  of  Baron  de  Beurnonville,  Paris,  1884,   1885. 
Collection  of  Rudolphe  Kann,  Paris. 


Lent  by  Mrs.  H.  O.  Havemeyer,  New  York. 
90 


THE     HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

00  PORTRAIT  OF  HIMSELF.     Bust,  turned  slightly 

7        to  the  right,  facing  the   spectator.      He  has  a  light 

moustache  and  a  small  chin-tuft;  his  short  hair  is  covered 

by  a  soft  black  cap.      He  wears  a  black  velvet  coat  trimmed 

with    fur   and  a   white  neckband.      A  double  gold    chain 

hangs  about  his  shoulders. 

Panel:    H.  28  inches;   W.  22^4    inches. 

Painted  about  1645. 

Vosmaer,  p.  544;  Dutuit,  p.  54,  No.  158;  Michel,  p.  567; 

Bode,  R.,  No.  260;   Klass.  d.  K.,  p.  316. 

Collection  of  the  Duke  of  Leuchtenberg,  St.  Petersburg. 


Lent  by  Mr.  Herbert  S.  Terrell,  New  York. 
91 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

QI    PORTRAIT      OF     A     GIRL     (HENDRICKJE 

V      STOFFELSr).      Half-length.      She  stands,  facing  the 

spectator,  with  both  hands  resting  on  the  sill  of  a  window, 

her  crisp  fair  hair  combed  back  from  her  forehead  under  a 

small  white   cap.       She  wears  a   dark-brown  jacket,  laced 

over  a  bodice  of  lighter  brown,  and  a  dark-green  apron.    A 

double  row  or  coral  beads  around  the  throat. 

Signed  below  in  the  centre:    Rembrandt  f.  1 645. 

Canvas:    H.   ^9-^    inches;    W.  33  inches. 

Smith,  No.  532;    Dutuit,  p.  21,  No.   310  (r);    Michel,  pp. 

308,  561  ;    Bode  R.,  No.  301 ;    Klass.  d.  K.,  p.  323. 

Exhibited  at  the  British  Gallerv,  London,  1818. 

Collection  of  Greffier,  Paris,  1 79 1 . 

Collection  of  Robit,  Paris,  1801. 

Collection  of  George  Hibbert,  London,  1829. 

Collection  of  Prince  Demidoff,  San  Donato,  1880. 

Gift    of   Mr.   Martin    A.   Ryerson    to    the   Art    Institute, 

Chicago. 


Lent  by  the  Art  Institute,  Chicago. 
92 


THE     HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

02  PORTRAIT  OF  A  YOUNG  MAN.  Half-length. 
7  Turned  to  the  right,  seated  at  a  table  with  a  brown 
cover.  With  his  left  hand  he  holds  some  loose  sheets  of 
paper  before  him  ;  his  right  hand,  in  which  he  grasps  a 
pencil,  rests  on  the  edge  of  the  table.  He  wears  a  broad- 
brimmed  hat  and  a  black  coat  over  a  golden-green  doublet. 
Signed,  above  on  the  right,  below  the  strip  of  canvas  that 
has  been  added:  Rembrandt  f.  1 6 J. J  (the  last  figure  al- 
most illegible). 

Canvas:    H.  35*^    inches;   W.  44^   inches. 
The   various   hypotheses   as    to    the    identity  of  the  sitter, 
sometimes   erroneously   called    Lombard   Bramer,   have   no 
sound  basis. 

Exhibited  at  Amsterdam,  1898. 

Smith,  No.  338;    Waagen,  II,  p.  280;    Dutuit,  p.  43,  No. 
314;   Michel,  pp.  382,  5S$;   Bode  R.,  No.  365;   Klass.  d. 
K.,  p.  345;   Cat.  of  the  Frick  Collection,  No.  30. 
Collection  of  Aved,  Paris,  1766. 
Collection  of  Earl  of  Carlisle,  Castle  Howard. 


Lent  by  Mr.  H.  C.  Frick,  New  York. 
93 


THE   HUDSON -FULTON  CELEBRATION 

REMBRANDT 

CONTINUED 

0^  A    YOUNG     PAINTER     (JAN    VAN    DE    CA- 

/  J  PELLE  ?).  Three-quarters  length.  Turned  to  the 
right  and  looking  out  into  the  distance.  His  left  hand 
holds  an  ink-bottle  and  portfolio  with  drawing-paper,  his 
right  a  pencil  with  which  he  sketches.  He  wears  a  dark 
cap  and  a  brown,  rur-trimmed  mantle  over  a  doublet  show- 
ing one  gold-embroidered  sleeve.  On  the  right  a  curtain. 
Canvas:  H.  4VS  inches;  W.  33^  inches. 
Painted  about  1648. 

There  is  documentary  evidence  that  Rembrandt  painted  the 
portrait  of  Jan  van  de  Capelle,  who  was  born  1624—25, 
and  it  is  probable  that  this  painting  represents  this  famous 
sea  painter,  as  the  date  corresponds  with  the  age  of  the 
painter. 

Smith  Suppl.,  No.  27;  Bode  R.,  No.  364;  Klass.  d.  K., 
p.  346. 

Exhibited  at  the  Roval  Academy,  London,  1899. 
Collection  of  Lord  Carrington,  Wycombe  Abbey. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 
94 


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£ 

PORTRAIT    OF    HI.MSFLF    BY    REMBRANDT 


THE     HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

0   .   PORTRAIT  OF  HIMSELF.     Half-length.     Rem- 
S*   brandt,  aged  about  forty-four.      Turned   half  to   the 
right.      His  right  hand  rests  on  his  side,  his  gloved  hand  on 
a  stick.      He  wears  a  small  moustache  and  chin-tuft,  and  on 
his  pale-brown  hair  a  red  net  under  a  reddish-brown  biretta 
with  a   narrow  gold   border.      A  pearl   in   his  ear.      He  is 
dressed  in  a  dark  doublet  with   slashed   olive-green  sleeves, 
cut  square  at  the  throat  and  showing  a   yellow  neck-cloth 
and  the  gold-embroidered  collar  of  a  fine  shirt. 
Signed   on  the  right  above   the   hand:    Rembrandt  f.  1650. 
Canvas:   H.  34%   inches;   W.  28  inches. 
Exhibited  at  the  Royal  Academv,  London,   1899. 
Dutuit,  p.   48,   No.  163;   Michel,  p.  558;   Waagen,  II,  p. 
281;   Bode  R.,  No.  346;   Klass.  d.  K.,  p.  319. 
Collection  of  Sir  Anthony  de  Rothschild,  London. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
95 


THE  HUDSON -FULTON   CELEBRATION 

REMBRANDT 

CONTINUED 

0-  STUDY  OF  AX  OLD  MAN.  Bust,  almost  full 
S+J  face,  the  head  hent  slightly  forward  to  the  left.  He 
has  a  grizzled  beard  and  hair  and  wears  a  red  cap.  His 
dark  gown  is  fastened  with  a  ieweled  gold  clasp  over  his 
light  underdress. 

Signed  above  on  the  right :     Rembrandt  f.  1650. 
Canvas:    H.  26^    inches;   W.  22  inches. 
Bode  R.,  No.  376;    Klass.  d.  K.,  p.  366. 


Lent  bv  Mr.  George  J.  Gould,  New  York. 
96 


THE     HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

0/C  THE  PHILOSOPHER.  Bust,  facing  the  spectator, 
/  the  head  and  eyes  turned  to  the  left.  Short  dark- 
brown  beard.  On  his  head  a  large  black  cap.  He  wears 
a  light-yellow  doublet  over  a  finely  plaited  shirt,  on  which 
hangs  a  gold  neck-chain.  Dark  coat  with  red  and  gold 
stripes.  Light  brownish-gray  background. 
Panel:  H.  24^  inches;  W.  19V,  inches. 
Painted  about  1650. 

Bode  R.,  No.  582;    Klass.  d.  K.,  p.  365. 
Collection  of  Maurice  Kann,  Paris. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
97 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

p.—  THE  SAVANT.    Nearly  three-quarters  length.  Stand- 
s  I    ing,  gazing  at  a  bust  of  Homer  on  a  table  at  his  right, 
his  left  hand  rests  on  his  side,  the  right  on  the  bust  of  Homer. 
He  has  a  beard  and  wears  a  broad  Mat  hat  and  a  black,  doublet 
over  a  white  linen  vestment  with  full  sleeves.      A  gold  chain 
is  looped  from  his  right  shoulder  to  his  left  side. 
Signed,  on  the  table  at  the  right:  Rembrandt  f.  /6jJ. 
Canvas:    H.  54-s    inches;   W.  523s   inches. 
The  old  description  of  this  picture  as  a  portrait  of  Pieter 
Cornelisz  Hooft,  who  died  in  1  647,  must  be  rejected,  as  there 
is  no  slightest  resemblance  to  his  features  in  this  portrait. 
Dr.  Six  suggests  that  the  picture  is  a  portrait  of  Torquato 
Tasso  (  Olid  Holland,  1  897,  p.  4  et  seq.). 

It  is  more  probably  an  ideal  portrait  of  Virgil,  an  author 
known  by  the  artist.      The  bust  of  Homer  is  mentioned  in 
an  inventory  of  Rembrandt's  collection. 
Smith,  No.  302;   Vosmaer,  p.  55  1  ;    Dutuit,  p.  43,  No.  3  14; 
Michel,  p.  555;   Bode  R.,  No.  385;   Klass.  d.  K.,  p.  426. 
Collection  of  Sir  Abraham  Hume,  London. 
Collection  of  Earl  Brownlow,  Ashbridge  Park. 
Collection  of  M.  Rudolphe  Kann,  Paris. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 

98 


THE    STANDARD-BEARER    BY    REMBRANDT 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

nO  THE  STANDARD  BEARER.  Three-quarters 
S  length.  Standing,  facing  the  spectator.  In  his  right 
hand  he  holds  a  glove,  in  his  gloved  left  hand  a  banner  bear- 
ing the  arms  of  the  City  of  Amsterdam.  His  gray  hair  is 
partly  covered  by  a  black  hat  with  a  white  feather;  he  wears 
a  dark-brown  coat  with  gold  buttons  and  over  his  right 
shoulder  a  richly  embroidered  sword-belt.  At  the  right  a 
rusticated  pillar. 

Signed  below  on  the  left:    Rembrandt fe.  l6jj. 
Canvas:    H.  5434.    inches;    W.  44",    inches. 
Smith,  No.  279;    Dutuit,  p.  49,  No.  436;  Michel,  pp.  500, 
559;   Bode  R.,  No.  370;   Klass.  d.  K.,  p.  428. 
Exhibited  at  Manchester,  1857;  Royal  Academy,  London, 
1871. 

Collection  of  Sir  Joshua  Reynolds,  London,  1795. 
Collection  of.  Earl  of  Warwick,  Warwick  Castle. 


Lent  by  Mr.  George  J.  Gould,  New  York. 
99 


THE     HUDS  ON  -FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

OQ  PORTRAIT  OF  A  MAN.      Three-quarters  length. 
7  7    Standing,   facing    the    spectator,    with    head    turned 
slightly  to  the   left.      He  has  long   brown    hair   and  a   fair 
moustache.      Over  his  dull-red  douhlet,  the  square  opening 
or  which    shows    a    plaited   shirt    embroidered   with   gold, 
hangs  a  heavy  fur-trimmed  cloak.     Around  his  neck  a  line 
gold  chain  and   a   whistle   suspended  from   a  ribbon.       On 
his  head  a  broad  black  cap.      His   right   hand  at  his  belt. 
Signed  below  on  the  left :    Rembrandt  f.  /6j^. 
Canvas:    H.  54/5    inches;   W.  34*4    inches. 
Dutuit,  p.  50,   No.  332;    Michel,  pp.  451,  561  ;    Bode  R., 
No.  448  ;    Klass.  d.  K.,  p.  438. 
Collection  of  Marquis  de  Beausset. 
Collection  of  A.  Allard,  Brussels. 
Collection  of  Prosper  Crabbe,  Paris,  1890. 


Lent  by  Mr.  James  Ross,  Montreal. 
100 


PORTRAIT   OF    AN    OLD    MAN    BY    REMBRANDT 


THE      HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

TOO  PORTRAIT  OF  AN  OLD  MAN.  Half-length. 
Seated,  turned  to  the  right,  his  right  arm  resting  on 
the  arm  of  the  chair.  He  has  a  ragged  white  beard,  and 
wears  a  broad  black  velvet  cap  on  his  curly  gray  hair.  He 
is  wrapped  in  a  full  brown  cloak,  the  sleeve  of  an  under- 
dress  of  a  lighter  tint  showing  at  the  right  wrist. 
Canvas:  H.  32*4  inches;  \V.  25^2  inches. 
Painted  about  1655. 

Michel,  p.  564 ;    Bode  R.,  No.  470  ;   Klass.  d.  K.,  p.  431. 
Collection  of  Mr.  L.  Lesser,  London. 
Collection  of  Mr.  M.  C.  Waltner,  Paris. 


Lent  by  Mr.  M.  A.  Slater,  Washington,  D.  C. 

101 


THE     HUDSON-  F  I1  L  T  0  N      C  E  I.  E  B  K  A  T  1  O  N 

REMBRANDT 

CONTINUED 

T(^T  THE  SIBYL.  More  than  half  length.  A  young 
woman,  seated,  turned  three-quarters  to  the  right, 
her  head  bent  forward,  her  eyes  turned  to  the  left,  holding 
a  large  book  on  her  lap  with  both  hands.  She  wears  a  dark 
gown  relieved  by  greenish  reflections,  a  gold-colored  mantle, 
and  a  light  turban  ornamented  with  precious  stones  and  a 
string  of  pearls. 

Canvas:    H.  27%    inches;  W.  30  inches. 
Painted  about  1656. 
Bode  R.,  No.  528;   Klass.  d.  K.,  p.  386. 
Collection  of  Barnett,  London,  1881. 


Lent  by  Mr.  Theo.  M.  Davis,  Newport,  R.  I. 

102 


PORTRAIT    OF    HIMSF.I.F    BY    REMBRANDT 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

TOI  PORTRAIT  OF  HIMSELF.  Three-quarters 
length.  Seated,  facing  the  spectator.  He  wears  a 
full  yellow  gaberdine  with  a  red  sash,  a  brown  cloak  with 
a  white  neck-cloth  and  gold-embroidered  shoulder-straps. 
On  his  head  a  dark  cap,  under  which  a  brown  skullcap  is 
visible.  He  has  a  short  moustache,  and  holds  a  stick  with 
a  silver  knob  in  his  left  hand.  Dark  background. 
Signed,  on  the  knob  of  the  chair:  Rembrandt f.  1658. 
Canvas:    H.  36  inches;  W.  29  inches. 

Smith,  No.  225  ;  Michel,  pp.  434,  558;  Bode  R.,  No.  428  ; 
Moes,  Icon  Ba.,  No.  6693.58;  Klass.  d.  K.,  p.  400;  Cat.  of 
Mr.  H.  C.  Prick's  Collection,  No.  29. 

Exhibited    in    London,    British    Institution,    18 15;    British 
Gallery,   1824;    Burlington  House,   1889,  1899. 
Collection  of  the  Earl  of  Ilchester,  Melbury  Park,  England. 


Lent  by  Mr.  Henry  C.  Frick,  New  York. 

103 


THE     HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

to^  HENDRICKJESTOFFELS.  Half-length  figure. 
J  Turned  to  the  left  and  bending  forward.  She  holds 
together  with  her  right  hand  a  loose  dark-brown  morning 
wrap  trimmed  with  reddish  fur.  Her  hair  is  covered  with 
a  gold-embroidered  greenish-brown  cap  ornamented  with 
a  gold  chain  and  precious  stones.  Reddish-brown  back- 
ground. 

Signed  on  the  right,  above  the  shoulder:  Rembrandt  f.  t66o. 
Canvas:    H.  29  %    inches;    W.  26^    inches. 
Bode  R.,  No.  438;   Klass.  d.  K.,  p.  411. 
Collection  of  Marquise  de  la  Cenia,  Spain. 
Collection  of  Rudolphe  Kann,  Paris. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 

104 


THE      HUDSON- FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

|.Q.  THE  ACCOUNTANT.  Half-length.  Standing 
«  figure,  bent  slightly  forward  and  leaning  against  a 
table;  the  left  hand  on  an  open  book  before  him;  the  right, 
holding  a  pen,  rests  on  the  table.  He  wears  a  bright-red 
cap  and  a  reddish-brown  gown  with  white  at  the  neck  and 
sleeves. 

Canvas:    H.  40^    inches;   W.  %lj4   inches. 
Painted  about  1663. 

Smith,  No.    275,   Suppl.,    No.   9;    Michel,  pp.    247,  561; 
Bode  R.,  No.  526;   Klass.  d.  K.,  p.  502. 
Exhibited  at  the  Royal  Academy,  London,  1889. 
Collection  of  Sir  Joshua  Reynolds,  London,  1795. 
Collection  of  Thomas  Hardman,  Manchester,  1838. 
Collection  of  Mrs.  Owen  Roe,  London. 
Collection  of  Mr.  Thomas  Green,  London,  1874. 
Collection  of  Mrs.  P.  C.  Handford,  Chicago. 


Lent  by  Mr.  Charles  M.  Schwab,  New  York. 
105 


r  H  E      HUDSON-FULTON     CELEBRATION 

REMBRANDT 

CONTINUED 

TO-  LUCRETIA  STABBING  HERSELF.  More  than 
•^  half  length.  The  figure,  with  head  slightly  inclined 
to  the  left,  faces  the  spectator.  With  her  right  hand  she 
points  a  dagger  at  her  breast,  while  the  uplifted  left  hand  is 
extended  toward  the  spectator.  She  wears  a  rich  greenish- 
gold  colored  dress  with  wide  sleeves  and  a  laced  bodice; 
around  her  throat  a  necklace  of  pearls  and  a  string  with  a 
pendant;  a  pearl  in  her  ear. 
Signed  on  her  left:  Rembrandt f.  1664. 
Canvas:    H.  46  inches;    W.  39  inches. 

Smith,  No.  192;    Dutuit,  p.  58,  No.  1  14;    Michel,  pp.  48c;, 
563;   Bode  R.,  No.  595;    Klass.  d.  K.,  p.  467. 
Collection  of  Lapeyriere,  Paris,   1825. 
Anonymous  Collection,  London,   1826. 
Collection  of  M.  Zachary,  London,  1828. 
Collection  of  Mr.  J.  H.  Munro,  Novar. 
Collection  of  Prince  Paul  Demidorf,  San  Donato,  1880. 
Anonymous  Collection,  London,  1889. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 
106 


THE   HUDSON' -FULTON   CELEBRATION 

REMBRANDT 

CONTINUED 

T06  PORTRAIT  OF  A   MAN.      Bust.      A  man  with 
long  dark  hair  and  a  dark  beard;    he   wears  a  low- 
crowned,  broad-brimmed   hat,  that    throws   a  shadow  over 
the  upper  part  of  his  face. 
Signed,  to  the  left:    Rembrandt  f.  l66j. 
Canvas:    H.  28  inches;   W.  25  inches. 

Michel,  p.  561;    Bode  R.,  No.  496;    Klass.   d.  K.,  p.  506. 
Collection  of  Sir  William  W.  Knighton,  London. 
Collection  of  Mr.  H.  G.  Marquand,  New  York. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

107 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

TO_  PORTRAIT  OF  A  MAN.  Bust,  facing  the  spec- 
'  tator.  The  left  hand  in  the  black  coat  which 
envelops  the  figure.  He  wears  a  flat  white  collar,  and  his 
long  dark  hair  is  partially  covered  by  a  broad-brimmed 
black  hat  with  a  high  crown. 
Canvas:  H.  23  J+  inches;  W.  25  inches. 
Painted  about  1665. 

Dutuit,  p.  46;   Bode  R.,  No.  495;   Klass.  d.  K.,  p.  507. 
Collection  of  Marquis  of.  Lansdowne,  London,  1883. 
Collection  of  Mr.  H.  G.  Marquand,  New  York. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

108 


PORTRAIT    OF    A    MAN    BY    REMBRANDT 


1 

i 

ijL      •r^" 

K 

1 

THE      HUDSON-FULTON      CELEBRATION 

JACOB  VAN  RUISDAEL 
Born  at  Haarlem,  1628-29.    Died  there  in  1682.    Probably 
a  pupil  of  Cornelius  Vroom  and  his   uncle  Salomon  Ruys- 
dael.      Worked   at   Haarlem    and    at    Amsterdam     (1657- 
1681).      Landscape  painter. 

TOR  COTTAGE   UNDER   TREES.      On   the   right  a 
thatched  cottage  backed   by  masses  of  oak  trees,  in 
front  of  which  is  a  held  surrounded  by  a  hedge  of  flowering 
elders  growing  on  a  rugged  bank;    at  the  side  an  old  cart- 
wheel.     In  the  door  of  the  cottage  stands  a  woman,  and  just 
outside  are  two  peasants.        In  the  distance,  on  the  right,  a 
second  cottage  with  trees.      Light  clouds  on  a  blue  sky. 
Signed  at  the  right  with  the  monogram  'J  v  R 
Canvas  :    H.  22 %   inches;   W.  25^    inches. 
Painted  1650-60. 

Smith,  No.  21-};    Waagen,  Vol.  IV,  p.   194. 
Exhibited  at  Manchester,   1857. 
Collection  of  William  Wells,  Redleaf,  1835. 
Collection  or  George  Field,  London,   1893. 
Collection  of  Rudolphe  Kann,  Paris. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 
109 


THE      H  I'  I)  SON-  F  U  L  T  O  N      C  E  I.  E  B  K  A    I    1  0  N 

JACOB  VAN  RUISDAEL 

CONTINUED 

Tf^s^  THE  SLUICE.  A  grass-grown  road  leads  over  a 
7  stone  bridge  to  a  woods  beyond.  On  the  left  a  rugged 
tree  and  a  sluice  or  water-gate.  On  the  right  a  small  stream 
and  meadow  with  a  shepherd  and  a  small  flock  of  sheep. 
Clouded  sky. 

Panel:    H.   1 5 '4  inches;    W.  21  }4    inches. 
Painted  1650-60. 
Sale  of  E.  Secretan,  Paris,   1  889. 


Lent  by  Mrs.  John  W.  Simpson,  New  York. 
1  10 


THE      HUDSON-FULTON      CELEBRATION 

JACOB  VAN  RUISDAEL 

CONTINUED 

TTO  DUNES  NEAR  HAARLEM.  A  view  of  dunes 
and  fiat  country  extends  to  the  far  horizon.  The 
hollows  of  the  foreground  and  middle  distance  are  wooded. 
The  sunlight  falls  in  patches  on  the  scene,  lighting  up  a 
field  and  a  number  of  gray  and  red  roofed  houses  in  the 
foreground.  A  village  church  with  a  high  steeple  stands 
further  back  in  the  shade.  In  the  rear  another  sunlit  field 
and  behind  it  the  Haarlem  Sea.  High  sky  with  gray  gath- 
ering clouds. 

Canvas:    H.   it,j4    inches;    W.   i6.v^    inches. 
Painted  about  1660. 


Lent  by  Mr.  W.  A.  Slater,  Washington,  D.  C. 
1  1  1 


THE     HUDSUN-H'LTON      C  E  L  E  B  R  A   1'ION 

JACOB  VAN   RUISDAEL 

CONTINUED 

TIT  WINTER  LANDSCAPE.  On  the  right  a  frozen 
canal  turns  to  the  lett  and  leads  to  the  distance- 
From  the  lett  a  road  follows  the  canal  over  a  stone  hridge 
at  the  right.  On  the  hridge  a  woman  wearing  a  white 
hood  and  a  red  skirt  is  seen  from  the  hack.  On  the  left 
in  the  middle  distance,  two  windmills  near  a  cottage,  and 
on  the  opposite  side  of  the  canal  a  village.  In  the  tore- 
ground  a  wooden  framework  against  which  a  man  with  two 
hundles  of  rushes  is  leaning.  Standing  near  him  is  a  man 
with  a  long  hook.  The  ground  is  snow -covered  and  a 
frosty  atmosphere  pervades  the  scene.  Dark  clouded  win- 
ter sky. 

Signed  at  the  right:    "J.  v.  Ruysdael. 
Canvas:    H.  20  inches;    W.  25  inches. 
Smith,  No.  2  10. 

Collection  of  M.  Sydervelt,  1766. 
Collection  of  Lapeyriere,  1825. 
Collection  of  Sir  Robert  Peel. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
1 12 


THE     HUDSON-FULTON     CELEBRATION 

JACOB  VAN    RUISDAEL 

CONTINUED 

TT~  STORMY  SEA.  A  pier  with  a  beacon  light  at  the 
end  extends  into  the  sea  towards  the  left ;  near  the 
end  of  the  pier  two  men,  one  with  a  hsh-pole  in  his  hand. 
Beyond  a  sailing-boat,  and  in  the  distance  at  the  right  and 
left  other  craft ;  near  the  horizon  a  large  sailing-vessel. 
At  the  left  a  rift  in  the  dark  clouds  throws  a  strong  light 
on  the  water. 
Canvas:    H.  T,9/i   inches;    W.  48  inches. 


Lent  by  Mr.  James  Ross,  Montreal. 
"3 


THE   HUDSON" -FT  I.  TON   CELEBRATION 

JACOB  VAX    RUISDAEL 

CONTINUED 

1  -  _   WOODS.      A    path   winds  from   right  to  left  over  a 
•J  wooden  bridge  into  the  depths  of  the  wood,  towards 
which   a   man   and  boy  are  advancing.      The  wood  slopes 
from  the   left  of  the  canvas  towards  the  right,  hounded  in 
the  foreground   by    a   small   sheet  of   water   into   which    a 
white  birch  tree  has  fallen.     Dark  and  cloudy  skv.     In  the 
right  foreground  the  monogram  'J  v  R. 
Painted  about  16^0—60. 
Canvas:   H.  2y;4    inches;  W.  2S  inches. 
Collection  von  Preyer,  Vienna. 


Lent  by  Senator  \V.  A.  Clark,  New  York. 

1  '4 


THE      HUDSON-FULTON"      CELEBRATION 

JACOB  VAN  RUISDAEL 

CONTINUED 

TT   .   THE  FOREST  STREAM.      A  forest  stream,  with 
•    waterfall    in    the    foreground,    surrounded    by  rocky 
banks;    on  the  right,  a  wooden  slope  with  rugged  oak  tree. 
In  the  central  background  two  figures  driving  sheep. 
Signed  at  the  right:    y  v  Ruisdael. 
Canvas:    H.  38^    inches;   W.  50^    inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

IJ5 


THE      HUDSON-FULTON      CELEBRATION 

JACOB  VAN  RUISDAEL 

CONTINUED 

rT-  THE  GNARLED  OAK.     A  pond  with  swans  in 

*J  the  foreground.      On  the  lett,   hilly  ground   thickly 
wooded   with    oak.      Open   country  on   the  right.      In  the 
centre  of  the  canvas,  in  a  strong  light,  stands  a   shattered 
oak.  tree.      On  the  left,  a  boy  and  man  descend  a  woodland 
path.      A  chain  of  hills  in  the  distance  on  the  right.     Dark 
clouds  are  gathering  and  massing  upon  a  light-blue  sky. 
Signed  on  the  left:    'J  v  Ruisdael. 
Canvas:    H.   \6%    inches;    W.  26?+    inches. 
W'aagen,  Vol.  IV,  p.  318. 

Collection  of  Rev.  Mr.  Heath,  Vicar  of  Enfield. 
Collection  of  Maurice  Kann,  Paris. 


Lent  by  Mr.  Robert  "W.  de  Forest,  New  York. 
116 


THE      HUDSON-FULTON      CELEBRATION 

JACOB  VAN    RUISDAEL 

CONTINUED 

TT/C  THE  CASCADE.  A  little  lake  extends  from  the 
left  of  the  canvas  towards  the  right,  where  it  forms 
a  cascade  spanned  by  a  wooden  bridge.  A  man  wearing  a 
red  jacket,  carrying  a  sack  on  his  back  and  followed  by  a 
dog,  is  walking  over  the  bridge.  Three  men  are  fishing 
from  the  left  shore  of  the  lake ;  on  its  further  shore  three 
houses  stand  on  hilly  ground.  To  the  right  an  oak  wood, 
and  beyond  a  chain  of  distant  hills.  Dark-gray  clouds  in 
a  pale-blue  sky. 

Signed   on  the  lower  left:  Ruisdaei. 
Canvas:    H.  30  inches;   W.  37^2    inches. 
Gallery  of  the  Duke  of  Mecklenburg,  1854. 
Sale  of  Pereire,  Paris,  1872. 
Sale  Prince  Demidoff,  San  Donato,  1880. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 

117 


THE      Hl'DSOX-Fl'LTON      CELEBRATION 

JACOB  VAX    RUISDAEL 

CONTINUED 

j  y_  A  WATERFALL.  Above  a  rocky  wooded  hill  at 
I  the  right  is  seen  the  spire  of  a  church.  A  rushing 
mountain  stream  emerges  from  the  right  and  turns  to  the 
left  in  the  foreground,  where  it  forms  a  cascade.  A  shep- 
herd leads  his  rlock  across  a  rustic  bridge  which  spans  the 
stream.  At  the  lett  some  fallen  tree-trunks.  Blue  hills 
along  the  distant  horizon.  Dark  clouds  gather  in  the  blue 
sky. 

Signed  on  a  rock  in  the  centre:    f  v  Ruisdael. 
Canvas:    H.   ^0^4    inches;    W.   ^4  inches. 
Smith,  No.  222. 

Collection  of  Baron  Lockhorst,   1826. 
Collection  of  Earl  of  Onslow,  England. 


Lent  by  Mr.  Henry  C.  Frick,  New  York 
118 


THE      HUDSON-FULTON      CELEBRATION 

JACOB  VAN   RUISDAEL 

CONTINUED 

TyO  THE  MOUNTAIN  TORRENT.  On  the  right, 
a  peasant  with  a  small  flock,  of  sheep  crossing  a 
rustic  foothridge  over  a  rushing  mountain  torrent.  On  the 
opposite  hank  a  held  in  sunshine  with  a  peasant's  cottage, 
before  which  stand  two  people  ;  at  the  back  a  mountain 
peak  with  wooded  slopes,  and  at  the  extreme  left  a  second 
cottage.  In  the  foreground  at  the  left,  a  waterfall. 
Canvas:  H.  20-s  inches;  W.  1 6|^  inches. 
Painted  1  660-70. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 

119 


THE      HUDSON-FULTON     CELEBRATIO N 

SALOMON   VAN   RUYSDAEL 

Born  at  Haarlem  about  1635.  Died  there  in  1670. 
Educated  under  the  influence  of  Esaias  van  de  Yelde  and 
fan    van  Goyen.    Worked  at  Haarlem.    Landscape  painter. 

y  y  p.  CANAL  SCENE.  From  the  foreground  a  canal  with 
/  several  sailboats  leads  toward  the  rio-ht  horizon.  A 
road  on  a  high  hank  on  the  left  follows  the  water.  Behind 
the  road  a  group  or  trees  and  in  the  centre  a  cottage  and  a 
distant  church  spire.  On  the  road  a  vehicle,  a  horseman  in 
red  and  other  figures.  In  the  shadowed  foreground  a  man 
mounts  a  ladder  placed  against  the  hank,  near  which  lies  a 
boat  holding  another  man;  beyond  this  lies  a  second  boat 
carrying  six  persons. 

Signed  on  the  boat:    5  V  Ruysdael  /6jO 
Panel:  H.  41^4    inches;    W.  52 )2    inches. 


Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 
120 


THE   HUDSON -FULTON   CELEBRATION 

SALOMON  VAN  RUYSDAEL 

CONTINUED 

T  ^  n  A  COUNTRY  ROAD.  On  the  left  a  group  of  trees 
surrounding  a  farm-house;  before  this  a  road,  leading 
over  a  bridge,  divides  in  the  foreground  to  the  right  and  left. 
Approaching  the  foreground  on  the  right,  two  herdsmen 
with  cattle;  on  the  left,  going  in  the  opposite  direction,  are 
two  horsemen,  and  on  the  bridge  two  vehicles.  At  the 
extreme  right  is  a  small  canal  and  beyond  it  a  meadow  with 
cows  and  a  distant  church.  Clouded  skv. 
Signed  on  the  lower  left:  S  v  Rnysdael  l6^S 
Canvas:   H.  27)4-   inches;   W.  51^    inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

121 


THE      HUD  S  O  N  -  F  V  L  T  O  N      C  E  I.  E  B  RATION 

SALOMON   VAN  RUYSDAEL 

CONTINUED 

T9  T  WINTER  SCENE.  A  road  leading  to  the  distance 
along  the  edge  of  a  frozen  canal,  with  horse-sleds  in 
the  foreground.  On  the  right  a  group  ot  village  houses 
with  peasants  in  holiday  attire  and  some  couples  on  horse- 
back. Cold  blue  winter  sky  with  stratus  clouds. 
Signed  in  the  centre  of  the  canvas:  S  v  R  l6j-. 
Canvas:    H.  29  inches;   W.  41^4    inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York. 

122 


THE     HUDSON-FULTON     CELEBRATION 

SALOMON  VAN  RUYSDAEL 

CONTINUED 

J 11  WINTER  NEAR  HAARLEM.  A  frozen  canal 
fills  the  foreground.  In  the  distance  the  city  of 
Haarlem  and  the  spire  of  the  cathedral.  On  the  left  the 
city  gate  with  turrets;  on  the  ice  in  the  foreground  is  a 
two-horse  sleigh  before  a  red-covered  tent.  On  the  right, 
two  horsemen  approach  by  a  road  on  the  other  side  of 
which  is  a  second  canal.  In  the  middle  foreground  a  group 
oi  children  have  fallen  on  the  ice  and  beyond  them  is 
another  child  with  a  sled  and  a  dog. 
Signed  on  the  left:  S  -van  Ruysdael  1 656 
Canvas:    H.  30J4.   inches;    \V.  44^-2    inches. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
123 


THE      HUDSON-FULTON      C  E  L  E  K  K  A  T  I  O  N 

JAN  STEEN 

Born  at  Levden  about  1626.  Died  therein  1679.  Studied 
at  the  University.  Pupil  of  Nicolaes  Kniipfer.  Worked 
at  Leyden,  The  Hague  and  at  Haarlem.  Painter  of  ^enre, 
religious  and  mythological  subjects  and  portraits. 

t  r)  1   KERMESSE.      Near  the  entrance  to  an  old  tavern, 
•3  above  the  door  or   which  hangs  the  sign  of  the  ele- 
phant, a  young  tiddler,  standing  upon  a  tub,  plays  for  some 
dancers.     In  the  foreground  a  family  group,  a  man,  woman 
and   child,  with   a   basket  of  food  and  a  dog.      The  tavern 
stands  near  a  stream.      A  boat-load  of  people  push  off  from 
the  shore  ;   a  man  on  the  bank  raises  his  cap  with  his  right 
hand  and  holds  out  a  tankard  in  his  left  as  a  parting  salute. 
In  the  background,  to  the  right  of  the  tavern,  are  a  group 
of  trees  and  a  bridge  over  the  stream. 
Signed  on  the  side  of  the  boat  :  "J.  Stee?i. 
Hofstede  de  Groot,  Nos.  641,  641*7,  642. 
Sale    The  Hague,  1770. 
Sale    G.  Copius,  The  Hague,  1786. 
Sale    A.  Meynts,  Amsterdam,  1823. 
Sale    J.  A.  van  Dam,  Dordrecht,  1829. 
Collection  of  H.  G.  Marquand,  New  York. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York 

124 


THE      HUDSON-FULTON     CELEBRATION 

JAN  STEEN 

CONTINUED 

jry  ,  GRACE  BEFORE  MEAT.  A  family  seated  un- 
'  der  an  arbor  before  a  house;  on  a  barrel,  which 
serves  as  a  table,  stands  a  large  basin  of  food;  at  the  right, 
the  father",  holding  his  hat  before  his  face,  offers  grace; 
opposite  him  sits  the  mother  with  a  child  on  her  lap;  at 
her  left  stands  aa  boy  with  hat  in  hand  and  head  devoutly 
raised  ;  in  the  foreground  a  dog  licks  an  overturned  pot. 
Signed  on  a  stone  at  the  left  of  the  foreground :  jf.  Steen. 
Canvas:  H.  23*/  inches;  W.  30  inches. 
Copies  in  the  Giltza  Collection,  Hamburg,  in  the  gallerv 
at  Liitzschena  and  in  the  sale  at  Amsterdam,  Dec.  9,  1902. 
Hofstede  de  Groot,  No.  377. 

Exhibited  at  the  Royal  Academy,  London,  1885. 
Collection  of  W.  A.  Hankey,  Beaulieu  in  Hastings. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
125 


T  H  E     H  V  D  S  0  N  -  F  I*  I.  T  O  \     ('  E  LEBRATION 

JAN  STEEN 

CONTINXTEO 

T9-  THE  DRAINED  CASK.  A  group  of  figures  in 
»-5  a  tavern.  In  the  centre  the  stooping  figure  of  a 
woman  in  a  red  dress  with  a  hlue  jacket,  who  holds  a  howl, 
while  on  the  right  a  man  in  a  gray-blue  cloak  tilts  a  cask 
to  drain  its  contents;  at  the  end  of  the  cask  an  old  woman 
strikes  it  with  her  shoe.  Seated  at  the  table  at  the  left  is  a 
man  with  a  red  hat,  holding  a  stein  in  his  hand,  and  behind 
him  two  men  in  green  clothes  eagerly  watching  the  wine 
as  it  flows  slowly  from  the  cask.  At  the  left  a  third  man 
lights  his  pipe  at  the  table.  In  the  background  an  open 
door  through  which  is  visible  the  evening  sky.  On  a 
wooden  partition  at  the  left  of  the  background  the  inscrip- 
tion: "Tis  drouigh  voor  de  maets  Aet  is  doot  den  tap  lopt 
op  s(e)n  ent  de  verbruyde  krouf  is  vaets." 
Signed  on  the  cask  :  f.  Steen. 
Canvas  :    H.  34  inches  ;   W.  40  inches. 

Smith  Suppl.,  No.   70  ;   Westrheene,  No.  95  ;    Hofstede  de 
Groot,  No.  603. 

Collection  of  M.  P.  Caauw,  Leyden,  176S. 
Collection  of  E.  Higginson,  Salmarsh  Castle,  Kent,  1S42. 
Collection    of  the    Marquis    de  La    Rochebousseau,  Paris, 

1873- 

Collection  of  M.  E.  Martinet,  Paris,  1896. 


Lent  by  Mr.  Charles  M.  Schwab,  New  York. 

126 


THE   HUDSON -FULTON   CELEBRATION 

JAN  STEEN 

CONTINUED 

T9/C  THE  DANCING  COUPLE.  Under  an  arbor  in 
front  of  a  tavern  a  man  and  woman  are  dancing; 
seated  at  a  table  at  the  left  are  an  old  couple,  a  young  man 
and  woman,  and  nearest  to  the  spectator  a  woman  in  a 
yellow  jacket  and  blue  apron,  holding  a  child  dressed  in 
yellow  who  plays  with  a  toy;  seated  on  the  right  in  the 
foreground,  a  man  in  a  brown  waistcoat  with  purple  sleeves 
and  scarlet  stockings,  and  a  woman  in  blue;  beside  them 
a  boy  with  soap-bubbles;  above  this  group  two  musicians 
with  a  flute  and  a  violin.  In  the  background,  two  children 
and  a  man  with  a  bird-cage  stand  by  a  fence,  and  beyond 
him  are  two  men  and  a  woman  and  the  booths  ot  a  village 
fair.  A  church  spire  is  seen  between  the  trees. 
Signed  in  the  lower  left  corner :  "J.  Steen  l66j. 
Canvas:    H.  42  inches;   W .  59  inches. 

Described  by  Sir  Joshua  Revnolds;  Nagler;  Waagen,  II, 
p.  118;  Smith,  No.  150;  Westrheene,  1898—99;  Hof- 
stede  de  Groot,  No.  665. 

Exhibited  at  the  Royal  Academy,  London,  1881;  South 
Kensington,  London,  1891. 

Collection  of  Col.   G.   Bisschop,   Rotterdam,    1752;    pur- 
chased by  the  Hopes,  1771. 
Collection  of  Philip  Henry  Hope,  London,  1883. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 

127 


THE     HUDSON-FULTON      CELEBRATION 

JAN  STEEN 

CONTINUED 

T2_THE  MERRYMAKERS.  A  group  of  diners 
/  seated  about  a  table  beneath  a  vine-covered  trellis. 
In  the  centre  or  the  foreground,  facing  the  spectator,  a 
woman  in  a  brown  dress  with  a  blue  jacket  holds  an  empty 
glass  in  her  outstretched  right  hand.  On  her  right,  seated 
on  a  stone  balustrade,  a  man  is  playing  a  cithern;  on  the 
left  a  jovial  old  man,  with  a  jug  in  his  hand,  smiles  upon 
the  spectator ;  behind  him  a  clown  embraces  a  maid  who 
is  serving  the  company  ;  at  her  left  a  man  playing  a  flute, 
and  a  smiling  old  man  who  raises  a  wine-glass  towards  a 
child  held  in  the  arms  of  an  old  woman  ;  beyond  them  at 
the  right,  other  rollicking  guests.  In  the  lett  of  the  fore- 
ground a  small  boy  has  harnessed  a  dog  to  his  toy  horse, 
and  on  the  right  is  an  overturned  wine-jug. 
Signed  on  the  right :  jf.  Steen. 
Canvas:    H.  57  inches;    W.  53  inches. 

Described   by   Immerzeel;   Smith,   No.    109;   Westrheene, 
No.  296  ;    Hofstede  de  Groot,  No.  443. 
Exhibited  at  the  Royal  Academy,  London,  1888. 
Sale  G.  Schimmelpenninck,  Amsterdam,  18  19. 
Sale  David  Seller  of  London,  Paris,  1889. 


Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 
128 


THE    GUARD-ROOM    BV   GERARD   TERBORCH 


THE   HUDSON -FULTON   CELEBRATION 

GERARD  TERBORCH 

Born  at  Zwolle,  1617.  Died  at  Deventer  in  1681.  Pupil 
of  his  father  and  P.  Molyn;  influenced  by  Frans  Hals, 
Rembrandt  and  Velasquez.  Traveled  in  Germany,  Italy, 
Spain,  England  and  France.  Worked  mostly  at  Deventer. 
Painter  ot  genre  and  portraits. 

t^O  THE  GUARD-ROOM.      A  group  of  three  cava- 
liers seated  about  a  cask  which  serves  as  a  table;  one, 
seated  at  the  right,  wearing  a  yellow  costume  with  a  steel 
cuirass  and  a  red  sash,  drains  a  large  wine-glass;  his  plumed 
hat  rests  on  his  knee.     On  the  left,  a  second,  wearing  a  blue, 
silver-embroidered  coat,  sits  with  his  back  to  the  spectator, 
blowing  a   trumpet  from   which   hangs  a  banner.     Behind 
the  cask  stands  a  third;    he   wears  a  rur   cap,  has  a  pipe  in 
his  left  hand  and   talks  with    a   girl    who    looks  over   his 
shoulder.      A  dog  lies  on  the  floor. 
Signed  on  the  cask  with  the  monogram  G.  T.  /6j8. 
Canvas:   H.  38%   inches;   \V.  3 1  j4   inches. 
Exhibited  at  the  Royal  Academy,  London,  1878. 
Collection  of  Onley  SavilJ-Onley,  London. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia 
129 


THE       H  V  D  8  o  N   -   F  U  I.  T  O  N       C  E  I.  K   B  R   A  T   I  O  N 

GERARD  TERBORCH 

CONTINUED 

TIO  LADY  POURING  WINE.    Three  half-length  rig- 
"  s   ures.    On  the  left  a  young  woman  in  a  red  jacket  and 
a  gray  skirt  pours  wine  from  a  pewter  flagon  for  a  man  sit- 
ting on  the  right,  who  looks  back    towards  her,  as  the   old 
mother  standing  behind  her  daughter  offers  him  a  plate  of 
food.      He  wears  a  dark  suit  and  a  large  black  hat. 
Panel:    H.   13^    inches;   W.  io-;s   inches. 
Smith  Suppl.,  No.  22. 
Collection  of  van  Loon,  Amsterdam,   1842. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 
130 


THE     HUDSON-FUI.  TON      CELEBRATION 

GERARD  TERBORCH 

CONTINUED 

,  „  PORTRAIT  OF  A  YOUNG  MAN.     Full-length. 
J       Figure  of  a  young  man  standing  in  a  room.      He  is 
dressed  in  black  with  a  long  cape  and  wears  a  white  lace- 
trimmed  shirt  with  a  deep  cambric   collar.      At   the  right, 
his  hat  lies  on  a  table  with  a  dull-red  cover  of  Utrecht  vel- 
vet; at  his  left  a  chair.      Gray  background. 
Canvas:    H.  34^   inches;   W.  23^   inches. 
Companion  piece  in  the  same  collection. 
Exhibited  at  the  Royal  Academy,  London,  1884. 
Collection  of  Hon.  W.  F.  B.  Massey  Mainwaring,  London. 


Lent  by  Senator  W.  A.  Clark,  New  York. 
'31 


THE     HUDSON-FULTON      CELEBRATION 

GERARD  TERBORCH 

CONTINUED 

T^T  PORTRAIT  OF  A  LADY.  Almost  full-length. 
•3  Facing  the  spectator.  The  right  hand  is  held  across 
her  person,  the  left  hangs  at  her  side.  At  her  left  is  a  tahle 
with  a  blue  cover.  She  wears  a  black  silk  dress,  opening 
in  front  over  a  white  satin  skirt  trimmed  with  gold  lace. 
Pearls  in  her  ears.  Her  hair  is  drawn  tightly  back  and 
arranged  in  ringlets. 

Canvas:    H.  21  )i    inches;   W.  16-s   inches. 
About  1660—65. 
Collection  of  A.  Thiem,  San  Remo. 


Lent  by  Mr.  Henry  C.  Kriek,  New  York 
1 .12 


THE     HUDSON-FULTON      CELEBRATION 

ADRIAEN  VAN  DE  VELDE 

See  also  Jan  van  der  Heyden,  No.  45,  and  Meindert  Hobbema,  No.   51 

Born  at  Amsterdam,  1635  — 36;  died  there  in  1672.  Pupil 
of  his  father,  Willem  van  de  Velde  the  elder,  and  Jan 
Wynants.  Worked  at  Amsterdam.  Painter  and  etcher  of 
landscapes  and  animals;  he  also  frequently  painted  figures 
in  landscapes  by  Hobbema, Wynants,  Philips  Koninck,  Jan 
Hackaert  and  others. 

T~~  LANDSCAPE  WITH   CATTLE.     At  the  left  in 
J       the  shadow  of  a  hill,  three  cows  and   a  sheep  stand 
in  a  pool  near  a  trough;  a  brown  and  white  cow  in  the  fore- 
ground is  turned  to  the  right;    behind   them   on  the  shore 
is  a  brindle  cow,  and  near  by  a  horsewoman,  in  a  blue  dress 
with    yellow  sleeves  and  cap,  speaks  with  a  herdsman.      In 
the  foreground  on  the  right,  two  cows  and  a  sheep  lie  on 
the  bank  of  the  pool.     In  the  distance  a  group  of  shepherds 
and  a  small  flock  of  sheep.      In  the  middle  distance  a  castle 
on  a  hill  and  blue  mountains  along  the  horizon. 
Signed  at  the  left  on  the  trough:   A.  v.  Velde f.  1666 
Canvas:    H.  21  %    inches;   W.  23^    inches. 
Smith,  No.  1  37. 

Collection  of  Philip  Henrv  Hope,  London,  1834. 
Collection  of  Adrian  Hope,  sold  in  London,   1894. 


Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 
*33 


THE     HUDSON-FULTON     CELEBRATION 

WILLEM  VAN  DE  VELDE 
Burn  at  Leyden,  1633.     Died  at  Greenwich,  1677.     Pupil 
of  his  father,  Willem  van  de  Velde  the  elder,  and  of  Simon 
de  Vlieger.      Worked  at  Amsterdam  and  from  1673  at  Lon- 
don.     Marine  painter. 

j -%  ">  CALM  SEA.  A  narrow  tongue  of  land  juts  for- 
J-3  ward  into  the  canvas  on  the  left,  forming  an  inlet,  in 
which  two  sailboats  with  partly  reefed  brown  and  grav 
sails  and  one  small  boat  are  seen.  Two  men  are  at  work 
in  one  of  the  boats.  A  man  in  a  dark-blue  jacket  and  a  red 
cap,  carrying  a  basket  on  his  back,  is  advancing  toward  the 
boats  from  the  left.  On  the  right  in  the  background  two 
more  sailboats.  A  misty  sky  with  warm  afternoon  light. 
In  the  left  foreground,  on  a  piece  of  wood,  signed:  W.  V .  V . 
Panel:    H.  10  inches;   W.  1 2  inches. 


Lent  by  Mr.  William  T.  Blodgett,  New  York. 
'34 


THE     HUDSOX-FULTUX      C  K  I.  K  K  R  A  T  I  O  N 

WILLEM  VAN  DE  VELDE 

CCWTINUED 

■t  "\  a  CALM  SEA.  A  boat  with  large  cream-colored 
•3  '  sails  lies  in  a  bay  extending  towards  the  left  of  the 
canvas.  A  smaller  boat  is  anchored  beside  it.  In  the  left 
foreground  a  dyke  fortified  with  piles  on  which  are  seen 
two  men.  A  boat  with  three  fishermen  at  work  in  it  lies 
near  by.  A  fourth  man  advances  along  the  shore  from  the 
right,  carrying  a  basket  on  his  back.  Just  beyond  two  men 
are  bathing  off  a  little  promontory  where  a  sailboat  has 
been  beached.  Several  frigates  are  lying  at  anchor  at  the 
mouth  of  the  bay.  Afternoon  light.  Warm  yellowish 
clouds  in  a  blue  sky. 
Signed  on  a  piece  ot   wood  in   the  foreground:    //'.  V.   V. 

j66i. 

Canvas:    H.  15  inches;   W.  19^    inches. 


Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 
l3S 


THE  HUDSON  -FULTON   CELEBRATION 

JOHANNES  VERMEER  VAN  DELFT 

Born  in  Delft  in  16^2.  Died  about  1675.  Pupil  of  Karel 
Fabritius.  His  early  works  show  the  influence  oi  Rembrandt's 
school.  Later  his  coloring  became  cooler,  yellow  and 
blue  predominating.  Tbere  are  at  the  present  time  thirty- 
six  authenticated  paintings  by  him,  of  which  seven  are  in 
America.  Painter  of  genre  pictures,  generally  with  one  or 
two  figures,  occasionally  of  landscapes,  religious  and  mytho- 
logical scenes. 

j~  —  LADY  WITH  LUTE.  A  young  woman  wearing 
JO  a  yellow  jacket  trimmed  with  ermine  is  seated  be- 
hind a  table.  She  holds  a  lute  and  looks  toward  a  window 
on  the  left  through  which  a  strong  light  falls  into  the 
room.  On  the  table  before  her,  which  has  a  blue-striped 
cover,  are  two  music  books.  In  front  of  it  a  chair  with 
carved  lions'  heads  has  a  deep-blue  drapery  thrown  across 
it.  On  the  left,  against  the  wall,  a  leather-upholstered 
chair,  and  above  it  hangs  a  map  of  Europe.  A  blue  cur- 
tain at  the  window 

Signed  on  the  wall  beneath  the  table:    Meer. 
Canvas:    H.  20\    inches;   W.  i8ys    inches. 
From  an  English  collection. 


Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


THE     HUDSON- FULTON      CELEBRATION 

JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

T^/C  LADY  WRITING.  A  lady  in  morning  toilet, 
J  wearing  a  yellow  jacket  trimmed  with  ermine,  sits 
writing  at  a  blue-covered  table  on  which  are  writing  ma- 
terials, a  casket,  and  a  string  of  pearls.  She  is  leaning  forward 
and  turns  to  look  at  the  spectator.  She  has  pearl  earrings 
and  bows  in  her  hair.  The  chair-back  is  ornamented  with 
gilded  lions'  heads.  A  large  dark  map,  only  partly  visible, 
hangs  on  the  greenish-gray  wall.  The  light  falls  on  the 
canvas  from  the  left,  strongly  illumining  the  head  and  bust 
of  the  lady. 

Canvas:   H.  18^2    inches;   W.  14^    inches. 
Burger,   No.    40;    Havard,    No.    43;    Hofstede    de    Groot, 
No.  36. 

Sale    (probablv)  Amsterdam,  1696. 
Sale    Dr.  Luchtmans,  Rotterdam,   18 16. 
Sale    (probablv)  J.  Kamermans,  Rotterdam,  1825. 
Sale    H.  Reydon  and  others,  Amsterdam,  1872. 
Sale    of  Comte  F.  de  Robiano,  Brussels,  1837. 


Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 
137 


THE  HUDSON -FULTON   CELEBRATION 

JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

T^_  GIRL  WITH  WATER-JUG.     Almost  full  length. 
J  I     A  young  woman  stands  in  the  corner  of  a  room  behind 
a  table,  holding  with  the  left  hand  a  water-jug  placed  in  a 
basin,  and  with  the  right  the  open  pane  of  a  window.      She 
wears  a  light-yellow  bodice,  dark-blue  skirt,  a  white  collar 
and  a  folded  kerchief  on  her  head.     An  open  trinket-box  lies 
on  the  table,  which  is  covered  with  an  Oriental  carpet.     A 
chair  in  the  background   has   a   blue  drapery   thrown  over 
it.      A  map  hangs  on  the  wall  above  the  chair. 
Canvas:    H.   \*/%    inches;   W.  l$%    inches. 
Havard,  No.   <;6;    Hofstede  de  Groot,  No.   56. 
Collection  of  Lord  Powerscourt,   1887. 
Collection  of  Mr.  Henry  G.  Marquand. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York, 

L38 


THE     HUDSON-FULTON      CELEBRATION 

JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

y  ^  O  THE  MUSIC  LESSON.  A  young  woman  is  seated 
J  in  the  corner  or  a  room  by  a  table,  wearing  a  red 
jacket,  blue  skirt  and  a  white  folded  kerchief  on  her  head. 
She  faces  the  spectator,  holding  a  sheet  of  paper  in  her  hand. 
A  man  wearing  a  bluish-gray  cloak  stands  by  her  side,  his 
left  hand  resting  on  her  chair,  his  right  stretched  out  to 
receive  the  paper.  On  the  table  are  a  mandolin,  a  music 
book,  a  Chinese  vase  and  a  glass  filled  with  red  wine.  A 
chair  with  a  blue  cushion  stands  in  front  of  the  table  and  a 
second  chair  behind  it.  The  light  falls  on  the  figures  from 
a  window  on  the  left,  near  which  hangs  a  bird-cage.  In 
the  background  is  a  painting  of  Cupid. 
Canvas:  H.  15'+  inches;  \V.  17^4  inches. 
The  picture  hanging  on  the  wall  appears  also  in  a  Vermeer 
in  the  National  Gallery,  London. 

Burger,  No.  9;    Havard,  Nos.  17,  18;    Hofstede  de  Groot, 
No.  27;    Catalogue  of  H.  C.  Frick  Collection,  No.  48. 
Exhibited  at  the  Burlington  Club,  London,  1900. 
Sale  P.  de  Smeth  v.  Alphen,  Amsterdam,  1810. 
Sale  H.  Croese,  Amsterdam,  181 1. 
Sale  C.  S.  Roos,  Amsterdam,  1820. 
Collection  of  Mr.  Lewis  Fry,  Clifton,  England. 


Lent  by  Mr.  Henry  C.  Frick,  New  York. 
T39 


I    II   I       II  I    \)  SON-  F  U  1.  T  O  N      ('  E  I.  E  K  R  A   I   ION 

JOHANNES  VERMEER  VAN   DELFT 

CONTINUED 

,^0   LADY    WITH    GUITAR.     Three-quarters  length. 
3/    A  young  lady  with  rosy  cheeks  is  seated  near  a  gray 
wall  on  the  left.      She  wears  a  white  silk  skirt  and  a  yellow 
jacket  trimmed  with  ermine,  and  sits  facing  the  spectator, 
looking  smilingly  to  the  left.      Behind  her  on  the  right,  a 
table  with  a  blue  cover,  on   which  three  books  are  lying. 
A   landscape   hangs   on   the   wall.      The  light  comes  from 
the  right  through  a  window  hung  with  dark-blue  curtains. 
Of  the  artist's  later  period. 
Canvas:    H.  2o'+    inches;    \Y.   17  inches. 
Burger,No.  28  ;  Hofstede  de  Groot,  No.  26;  Havard,No.  ^  1 . 
After  Vermeer's  death  his  widow  redeemed  a  debt  of  617 
florins   with   this   painting  and   "The   Love  Letter,"  now 
in  possession  of  O.  Beit,  London. 
Exhibited  at  the  Royal  Academy  in  London,  1892. 
Sale  Amsterdam,  1696. 

Sale  Philip  v.  d.  Schley  and  D.  du  Pre,  Amsterdam,  1817. 
Collection  of  T.  H.  C.  Cremer,  Brussels. 
Collection  of  Lord  Iveagh,  London. 


Lent  by   Mr.  John  G.  Johnson,  Philadelphia. 
1 40 


THE     HUDSON -FULTON      CELEBRATION 

JAN   VERSPRONCK 

Born   at   Haarlem,  1597;    died    there   in    1662.      Pupil   of 
Frans  Hals.      Worked  at  Haarlem.      Portrait  painter. 

TAO  PORTRAIT  OF  A  MAN.     Bust.     Turned  slightly 
•        towards  the  right.      Only  the  left   hand,  holding  a 
glove,  is  visible.      Black  costume.      Flat  white   collar   and 
slouch  hat. 

Signed  on  the  lower  right:    J  V  Spro   .   .   .   l6j.$. 
Canvas:    H.  3 1  5S    inches;   W.  25^    inches. 


Lent  by  Mr.  Wilhelm  Funk,  New  York. 
141 


T  H  E      H  U  D  S  0  X  -  F  r  I.    I    ON      C  E  I.  E  B  R  A  T  I  O  N 

SIMON  DP  VLIEGER 

Born  in  Rotterdam  in  1601.  Died  at  Weesp  in  1653. 
Said  to  have  been  a  pupil  of  Willem  van  de  Yelde  the 
elder.  Worked  at  Rotterdam,  Delft,  Amsterdam  and 
Weesp.      Painter  of  landscapes,  animals  and  marines. 

,    .  y    CALM  SKA.       At  the  right  two  sailboats  moored  to 
'       some  rocks;   bv  the  side  of  one  a  rowboat   with  two 
men.      At  the  left   two  boats  and  near  the  horizon   other 
small  craft.      A  broad  expanse  of  blue  sky  with  clouds. 
Panel:    H.   1 4 '  _.    inches;   W.   17  inches. 


Property  of  the  Metropolitan  Museum  of  Art,  New  York 

142 


--,  ■     .„  —  .....  ..-  ■-.- 


CALM    SEA    BY    SIMON"    DE    VLIEGER 


THE     HUDSON-FULTON      CELEBRATION 

PHILIPS  WOUWERMAN 
Born  at  Haarlem,  i  6 1  9 ;    died  there  in  1668.      Pupil  of  his 
father,  of  Frans  Hals  and  Pieter  Verbeeck.       He  was  for  a 
time  at  Hamburg  and  was  possiblv  in  Italy.      Painter  and 
etcher  of  landscapes  and  scenes  with  horses. 

j  A  ~   FROZEN   CANAL.      A  sleigh  in  which  a  lady  is 
'*        seated,  drawn  by  a  white  horse,  stands  on  the  frozen 
canal,  which  winds  from  the  right  towards  the  left  back- 
ground.     The   coachman   is   in   red.      Behind  the  sleigh  a 
straw-thatched  cottage  with  smoke  issuing  from  the  chim- 
ney.     In    the    left   foreground,  partly    shaded,   a    peasant's 
sleigh    and   a   boy  pushing  a  small   sled  on  which  a  girl  is 
seated.      Gray  clouds  massing  in  the  blue  sky. 
Signed  in  the  right  foreground  -.PHILS  [entwined)   IV. 
Panel:    H.  19^   inches;   \V.  27  inches. 
Dating  probably  from  the  fifties. 
Hofstede  de  Groot,  No.  1  1  35. 
Collection  von  Preyer,  Vienna. 


Lent  by  Senator  W.  A.  Clark,  New  York. 
T43 


THE     H  U  D  S O  N-FULTON      CELEBRA    II  0  N 

PHILIPS  WOUWERMAN 

CONTINUED 

,    .  ~  THE    HORSE  FAIR.      In  the    centre  a  group   of 
i~J  horses  with  a  large  white  one  in   the  foreground;   a 

man  holding  the  head  of  one  mounted  by  a  peasant  in  a 
red  waistcoat.  Under  a  large  tree  on  the  right  several 
soldiers  are  trying  horses  before  a  tent.  Near  by  several 
gypsies  and  a  woman  with  a  child.  On  the  lett,  in  the 
foreground,  a  woman  seated  with  two  children;  in  the 
distance  a  church  and  houses.  Thin-clouded  sky. 
Canvas:    H.  lj%   inches;   \V.  25^,    inches. 


Lent  by  Mrs.  E.  C.    Hobson,  Washington 

■44 


ADDENDA 

The  following  works,  generously  lent  by 
Mr.  B.  Altman,  New  York,  were  received 
too  late  to  he  included  in  the  body  of  the 
catalogue. 


THE      HUDSON-FULTON      C  E  L  E  B  R  A  T  I  O  X 

FRAN'S   HALS 

CONTINUED 

11  A  THK  MERRY  COMPANY  ("AUSGELASSENE 
*"*  GESELLSCHAFT").  A  young  girl  seated  at  a 
table  with  her  right  hand  raised  in  warning  as  she  gaily  turns 
her  smiling  race  toward  the  man  at  her  left.  Her  blonde 
hair  is  crowned  with  laurel.  She  wears  a  white  satin  cos- 
tume with  an  overdress  of  deep  orange,  richly  embroidered, 
and  a  flaring  lace  collar.  At  her  throat  and  wrists  are 
strings  of  coral.  A  man  with  a  florid  face  rests  his  cheek 
against  her  head  and  has  his  arm  about  her  shoulders  ;  he  is 
dressed  in  black,  with  a  clay  pipe  stuck  in  his  large  soft  hat, 
and  over  his  right  shoulder  hangs  a  string  of  sausages  and 
dried  fish:  in  his  ri^ht  hand  he  holds  the  tail  of  a  fox.  A 
man  at  the  right  looking  down  at  her  wears  a  gray  cloak 
and  a  red  cap  and  holds  a  cane  in  his  left  hand.  In  the 
background  at  the  left  is  a  smiling  buffoon  dressed  in 
green,  with  a  wooden  spoon  in  his  red  hat.  The  table  in 
the  foreground  has  a  green  cover,  and  standing  on  it  are 
various  household  utensils — a  pot  of  coals,  a  stein,  and  a 
dish  of  sausages.  Dark-green  background. 
Signed  in  Gothic  letters  on  the  stein:  F.  H. 
Canvas:  H.  50^  inches;  W.  39  inches. 
About  161  5. 

Dirk  Hals,  the  brother  of  the  artist,  has  copied  this  com- 
position in  a  small  picture  in  the  Louvre. 
Bode  St.,  No.  j$\    Moes,  No.   208;    Bode,  Der  Cicerone, 
February  and  May,  1909. 

Exhibited  at  the  Palais  du  Corps  Legislatif,   1 874. 
Collection  Cocret,  Paris. 

Lent  bv  Mr.  B.  Altman,  New  York. 
146 


«^Vt   ^^^^1                       a^flfl 

%***»«*. 

If.    T  /   ■  Wk 

i    1|    1 

^BMnfc^    _^fl         H^91 

PL  je 

vh»JaHI^HiHI 

MERRY    COMPANY    BY    FRANS    HALS 


PORTRAIT    OF    A    YOUNG    MAN 
(CALLED    "THOMAS    JACOBSZ    HARING  ") 
KY    REMBRANDT 


THE   HUDSON  -FULTON   CELEBRATION 

REMBRANDT 

CONTINUED 

TOjo  PORTRAIT  OF  A  YOUNG  MAN  (called 
T"  "THOMAS  JACOBSZ  HARING").  Half- 
length.  Standing,  turned  to  the  right.  He  has  a  thin,  pale 
face,  dark  eyes  and  a  small  moustache,  and  wears  a  broad 
cap  with  a  skullcap  under  it  over  his  long,  dark  hair.  He 
is  dressed  in  a.  brown  doublet  with  white  at  the  neck  and 
sleeves,  and  holds  in  his  hands  some  folio  sheets.  On  the 
right,  in  a  deep  shadow,  is  the  bust  of  a  man. 
Signed  on  the  back  of  the  folios :  Rembrandt  f.  /6j8. 
Canvas:  H.  42-N  inches;  W.  33^  inches. 
The  identity  of  this  portrait  as  the  auctioneer  Thomas 
Jacobsz  Haring  is  probably  an  error;  as  has  already  been 
pointed  out  by  Bode,  the  etching  of  165^  shows  a  much 
older  man,  and  also  the  identification  of  the  etching  with 
Haring  is  merely  traditional.  It  is  more  likelv  a  portrait 
of  Rembrandt's  son  Titus,  as  the  features  resemble  those 
of  his  portraits  of  this  period. 

Yosmaer,  pp.  356,  559;    Dutuit,  p.  s3>   No.  215;   Bode  R., 
No.  458;   Klass.  d.  K.,  p.  417. 

Exhibited  at  the  Roval  Academy,  The  Hague,  1892. 
Collection  Marchese  d'lvrea,  Genoa. 
Collection  von  Lissingen,  Vienna,  sold  in  Paris,  1876. 
Collection  John  Waterloo  Wilson,  Paris,  1881. 
Collection  Wilbrenninck,  The  Hague. 
Collection  M.  Maurice  Kann,  Paris. 


Lent  bv  Mr.  B.  Altman,  New  York. 
H7 


I    H  E      H  U  D  S  O  N  -  F  U  I.  T  O  N      C  1    I.  I.  B  R  A  T  I  O  N 

REMBRANDT 

CONTINUED 

IO_  .   TITUS,THE  SON  OF  REMBRANDT  ("THE 
/       MAN    WITH    A    MAGNIFYING-GLASS"). 

Halt-length.  Seated,  facing  the  spectator,  his  body  turned 
slightly  to  the  right.  In  his  right  hand,  which  seems  to  rest 
on  the  table  before  him,  he  holds  a  magnifying-glass.  He  is 
bareheaded,  and  his  thick,  curling  brown  hair  falls  about  his 
shoulders.  He  is  dressed  in  red,  with  a  narrow  collar,  and 
wears  small  steel  armlets  on  the  upper  part  of  his  slashed 
sleeves.  A  dark  cloak  falls  over  his  right  arm.  Dark  back- 
ground. 

Canvas:    H.  36-S    inches;   W.    28-^    inches. 
Companion  picture  to  No.   10711. 
Painted  about  1668. 

The  model  for  this  portrait  is  the  same  as  that  of  the  man 
in  the  so-called  "Jewish  Bride"  at  Amsterdam,  which  was 
recently  identified  as  Rembrandt's  son  Titus.  The  present 
portrait  was  probably  painted  in  the  year  of  his  marriage  to 
Magdalena  van  Loo  (February,  1668).  Titus  died  in  the 
following  autumn,  and  his  wife  survived  him  but  one  year. 
Exhibited  in  Brussels,   1882. 

Dutuit,  p.  (jo,  No.  347;  Michel,  p.  501,  No.  563;  Klass. 
d.  K.,  p.  482. 


Lent  by  Mr.  B.  Altman,  New  York. 
148 


TITl'S    THE    SOX    OF    REMBRANDT 

("THE    MAN    WITH    THE    MAGNIFYING    GLASS  "  ) 

BY    REMBRANDT 


VIAGDALENA    VAN     LOO,    WIFE    OF    REMBRANDT  S 

(  "  THE    1.  \l>Y    WITH     \    PINK  ") 
BY    REMBRANDT 


SON      II  I  L  S 


THE      HUDSON-FULTON      CELEBRATION 

REMBRANDT 

CONTINUED 

TO_R  MAGDALENA  VAN  LOO,  WIFE  OF  REM- 

1(J/±S  BRANDT'S     SON     TITUS     ("THE     LADY 

WITH  A  PINK").      Half-length.      Seated,  turned  to  the 

left,  the  head  inclined  toward  the  spectator.      In  her  right 

hand  she  holds  a  red  carnation.      Her  fair  hair  is  combed 

back  from  her  face  into  a  small  gold  cap  and  bound  with  a 

string  of  pearls.     She  wears  large  pendent  pearls  in  her  ears 

and  a  gold  chain  about  her  neck.      Her  rich  red  gown  with 

full  sleeves  is  cut  square   over  the  bust,   showing  a   dainty 

chemisette.      In   the  background  a  dark  curtained  picture 

in  a  gold  frame. 

Canvas:    H.  ^6-S    inches;    W.  30^    inches. 

Companion  picture  to  No.  107A. 

Painted  about  1668. 

Exhibited  in  Brussels,  1882. 

Dutuit,  p.  <;o,  No.  ^48;  Michel,  p.  901,  No.  <;6-};  Bode  R., 

No.  536;    Klass.  d.  K.,  p.  483. 

Collection    of    Comte    E.   d'Oultremont,   Brussels,  sold    in 

Paris,  1889. 

Collection  of  M.  Maurice  Kann,  Paris. 


Lent  by  Mr.  B.  Altman,  New  York. 
T49 


T  H  E      H  U  D  SO  N  -  F  0  I.  T  O  N      C  E  I.  E  B  k  A  1    1  0  N 

JACOB  VAX   RUISDAEL 

CONTINUED 

TT9   .    CORNFIELDS  \"\jy  COUP  DE  SOLEIL"). 

A  road,  in  strong  sunlight,  leads  from  the  right  to  a 
group  of  distant  cottages  in  a  woods,  hetween  fields  of  ri- 
pened corn.  On  the  road  a  man  walking  toward  the  woods 
and  a  woman  and  small  boy  approaching  the  foreground. 
At  the  right  are  two  trees  and  a  hedge;  at  the  left,  along  the 
horizon,  the  sea  with  sails,  and  on  the  shore  a  beacon-light. 
Clouded  skv. 

Signed  at  the  right:    /  /'  Ruisdael 
Canvas:    H.  401.,    inches;    \\".   q  1  l _,    inches. 
Collection  oi  M.  Maurice  Kann,  Paris. 


Lent  by  Mr.  B.  Altman,  New  York. 
150 


C.IRI.    SLEEPING    BY    JOHANNES    VERMEER 


THE      H0DSON-FUITON      CELEBRATION 

JOHANNES  VERMEER  VAN   DELFT 

CONTINUED 

TjH  \  GIRL  SLEEPING.  A  girl,  leaning  her  head  on 
Di  her  right  hand,  sits  behind  a  table  at  the  left;  her 
left  hand  rests  on  the  table.  She  wears  a  small  black  cap  and 
a  brown  dress  with  white  ribbons.  The  table  is  covered 
with  a  Turkish  carpet,  and  on  it  are  a  blue  dish  with  fruit, 
a  napkin,  a  white  jug  and  a  knife.  In  the  corner  of  the  right 
foreground  is  the  back  of  a  chair.  In  the  background  the 
corner  of  a  picture  of  Cupid  (see  note  to  No.  1^8).  On 
the  right  a  half-open  door  leads  to  another  room  where  a 
table  is  seen  with  a  small  picture  hanging  above  it. 
Signed  at  the  left:  J.  V.  Meer  (the  V.  and  M.  are  inter- 
twined). 

Canvas:    H.   ^4  inches;  W.  29}/    inches. 
Sale  Amsterdam,   1696. 
Sale  John  W.  Wilson,  Paris,  188 1. 
Collection  of  M.  Rudolphe  Kann,  Paris. 


Lent  by  Mr.  B.  Altman,  New  York. 
I51 


PAINTINGS    BY 
DUTCH     MASTERS 


LIST  OF  ARTISTS 

ARTIST  CONTRIBUTOR 

Berchem,  Nicolaes 

1  The  Ford Mr.  Charles  E.  Bushnell,  New  York 

Beyeren,  Abraham  van 

2  Still  Life Mrs.  William  L.  Elkins,  Philadelphia 

Bol,  Ferdi.vand 

3  Portrait  of  a  Lady Mr.  Theodore  Davis,  Newport 

Capelle,  Jan  van  de 

4  Winter  Scene Mr.  P.  A.  B.  Widencr,  Philadelphia 

5  Marine Mr.  John  G.  Johnson,  Philadelphia 

Cuyp,  Aelbert 

6  Village  in  the  Dunes     ....  Senator  W.  A.  Clark,  New  York 

7  Piping  Shepherds Mrs.  Collis  P.  Huntington,  New  York 

8  The  Maas  near  Dordrecht        .      .  Mr.  Henry  C.  Frick,  New  York 

9  River  View Sir  Wm.  van  Home,  Montreal 

10   Milking-Time Mr.  W.  B.  Dickerman,  New  York 

l  i    Milking-Tin-.e Mr.  George  J.  Gould,  New  York 

12  Landscape  with  Figures  and  Cattle  Mr.  J.  Pierpont   Morgan,  New  York 

13  Landscape  with  Bridge         .      .      .  Mrs.  John  W.  Simpson,  New  York 

14  Man  Eating  Mussels      ....  Mr.  M.  C.  D.  Borden,  New  York 

15  Cock  and  Hens Mr.  John  G.  Johnson,  Philadelphia 

16  Peaches Mr.  John  G.  Johnson,  Philadelphia 

Goyen,  Jan  van 

17  View  of  Rhenen Metropolitan  Museum  of  Art 

18  View  of  Rhenen Senator  W.  A.  Clark,  New  York 

19  Mew  of  Dordrecht Senator  W.  A.  Clark,  New  York 

Hals,  Dirk 

20  Children  Playing  with  Cards     .      .  Mr.  }.  Pierpont  Morgan,  New  York 

21  Girls  with  a  Cat Mr.  J.  Pierpont  Morgan,  New  York 

*  S3 


THE      Hl'DSOX-Fl'LTOK      CELEBRATION 


ARTIST 

Hals,  Frans 

22  The  Smoker  .... 

23  Singing  Boys 

24  Boy  Playing  a  Flute 

25  Samuel  Ampzing,   1630 

26  Wilhem  van  Hevthuysen 

27  Portrait  of  a  Man,  1633 

28  Portrait  of"  an  Artist,   1635 

29  Caspar  Sibelius,   1637.    . 

30  Michiel  de  Wael,  1638 

31  Portrait  of  a  Lady     . 

32  Portrait  of  a  Man 

33  Heer  Bodolphe   . 
34.  Yrouw   Bodolphe,   1643 

35  Portrait  of  a  Man,   1643 

36  Dorothea  Berck,  1644   . 

37  Balthasar  Coymans,   1645 

38  Isabella   Covmans 

39  Portrait  of  a  Man,  1648 

40  Portrait  of  a  Lady 

41  Portrait  of  a  Man 

Helst,  Bartholomaeus  VA1 

42  Portrait  of  a  Man,  1647 

43  Portrait  of  a  Lady 

Heyden,  Jan  van  der 

44  Street  in  Delft 

45  Bull  in  the  Street 

HOBBEMA,    MEINDERT 

46  The  Pool 

47  Castle  Kostverloren 

48  Holford  Landscape,  1663     . 

49  Cottage  among  the  Trees,  1665 

50  Wooded  Road 

5  1    Water-Mill  (TrevorLandscape),  1  66; 
52    Road  in  the  Woods        .... 

Hooch,  Pieter  de 

^  5  The  Visit 

54  Woman  and  Child  in  Courtyard 

5  5  The  Bedroom 

56  Cavaliers  and  Ladies 

57  The  Music  Party      .... 

'54 


N    DER 


CONTRIBUTOR 

Metropolitan  Museum  of  Art 
Mr.  Charles  Stewart  Smith,  New  York 
Mr.  E.  D.  Libbev,  Toledo 
Sir  Wm.  van  Home,  Montreal 
Mr.  Chas.  L.  Hutchinson,  Chicago 
Mrs.   Morris  K.  Jesup,  New  York 
Mr.  Henry  C.  Frick,  New   York 
Mr.  M.  C.  D.  Borden,  New  York 
Mr.  J.  Pierpont  Morgan,  New  York 
Mr.  J.  Pierpont  Morgan,  New  York 
Mr.  P.  A.  B.  Widener,  Philadelphia 
Mr.  J.  Pierpont  Morgan,  New  York 
Mr.  J.  Pierpont  Morgan,  New  York 
Mrs.  Collis  P.  Huntington,  New  York 
Mrs.  Collis  P.  Huntington,  New  York 
Mrs.  Collis  P.  Huntington,  New  York 
Mr.  P.  A.  B.  Widener,  Philadelphia 
Mr.  Charles  M.  Schwab,  New  York 
Metropolitan  Museum  of  Art 
Metropolitan  Museum  of  Art 

Metropolitan  Museum  of  Art 

Mr.  Robert  W.  de  Forest,  New  York 

Mr.  Theodore  M.  Davis,  Newport 
Mr.  Wm.  T.  Blodgett,  New  York 

Mr.  Wm.  T.  Blodgett,  New  York 
Mr.  M.  C.  D.  Borden,  New  York 
Mr.  J.  Pierpont   Morgan,  New    Y>rk 
Mr.  Henry  C.  Frick,  New  York 
Mrs.  William  L.  Elkins,  Philadelphia 
Mr.  I.  Pierpont   Morgan,  New   York 
Mr.  George  J.  Gould,  New  York 

Mrs.  Henry  O.  Havemeyer.Neu  York 
Mr.  P.  A.  B.  Widener,    Philadelphia 
Mr.  P.  A.  B.    Widener,    Philadelphia 
Mr.  Wm.  T.  Blodgett,  New  York 
Mr.  M.  CD.  Borden,  New  York 


LIST      OF      ARTISTS 


Kalf,  Willem 

58  Still  Life 

Koninck,  Philips 

59  The  Dunes 

Leyster,  Judith 

60  The  Gav  Cavaliers  .... 

Maes,  Nicolaes 

6i    Portrait  of  a  Man      .... 

62  Old  Woman 

Metsu,  Gabriel 

63  A  Music  Party,  1659 

64  A  Visit  to  the  Nursery,  166 1   . 

Neer,  Aert  VAN  DER 

65  Sunset 

66  Moonlight 

67  The  Farrier 

OsTADE,  ADRIAEN  VAN 

68  The  Old  Fiddler,   1641        .      . 

69  The  Cottage  Doorvard,  1673  . 

OSTADE,    ISACK.   VAN 

70  The  Halt 

7  I    Cottage  Scene 

Potter,  Paulus 

72  Barnyard  Scene,   1647    . 

73  Cattle  in  Pasture        .... 

Rembrandt,  van  Rijn 

74  Portrait  of  Himself,  c.   1628 

75  Portrait  of  Himself,   1631 

76  Portrait  of  Himself,   163  I 

77  Nicolaes  Ruts,   163 1 

78  Portrait  of  a  Man,   1632 

79  The  Noble  Slav,  1632  . 

80  St.  John  the  Baptist,  1632 

8 1  Saskia,  c.  1633    . 

82  Portrait  of  a  Young  Man,  c.  1633 

83  Portrait  of  a  Young  Woman,  c.  1633 

84  Portrait  of  a  Man,  c.   1633 

8;   The  Marquis  d'Andelot,  c.   1634 
86  The  Finding  of  Moses,  c.   1635 

l55 


CONTRIBUTOR 

Mr.  John  G.  Johnson,  Philadelphia 

Sir  Wm.  van  Home,  Montreal 

Mr.  John  G.  Johnson,  Philadelphia 

Mr.  Thatcher  M.  Adams,  New  York 
Mr.  John  G.  Johnson,  Philadelphia 

Metropolitan  Museum  of  Art 

Mr.  J.  Pierpont   Morgan,  New  York 

Mr.  Theo.  M.   Davis,  Newport 
Mr.  Ferdinand  Hermann,  New  York 
Metropolitan  Museum  ot  Art 

Metropolitan  Museum  of  Art 

Mr.  P.  A.  B.   Widener,    Philadelphia 

Mr.  P.  A.   B.  Widener,    Philadelphia 
Mr.  Wm.  T.  Blodgett,  New  York 

Mrs.  William  L.  Elkins,  Philadelphia 
Mr.  Leon  Hirsch,  New  York 

Mr.  J.  Pierpont  Morgan,  New  York 

Mr.  E.  D.  Libbey,  Toledo 

Mr.  Frank  G.  Logan,  Chicago 

Mr.  J.  Pierpont  Morgan,  New  York 

Anonymous 

Mr.  W.  K.  Vanderbilt,  New  York 

Mr.  Charles  Stewart  Smith,  New  York 

Mr.  P.  A.  B.  Widener,  Philadelphia 

Mrs.  Morris  K.  Jesup,  New  York 

Mrs.  Morris  K.  Jesup,  New  York 

New  York  Historical  Society 

Mr.  Richard  Mortimer,  New  York 

Mr.  John  G.  Johnson,  Philadelphia 


THE      Hl'DSO  N  -  ¥  I   L    I    0  N      CF.LEBR  A  TION 


ARTIST 

Rembrandt,  van  Rijn  (Continued) 

87  Slaughtered  Ox,  163-    . 

88  The  Gilder  HermanDoomer,  1640 
S9    Portrait  of  an  Old  Woman,   1640. 

90  Portrait  of  Himself,  c.  1645     . 

91  Portrait  of  a  Girl,   1 645 
(Hendriekje  Stoffels  :  )    .... 

92  Portrait  of  a  Young  Man,  1647 

93  A  Young  Painter,   164S 

1  [an  van  de  Capelle  ?  )  . 

94  Portrait  of  Himself,   1650 

95  Study  of  an  Old  Man,  c.  II 

96  The  Philosopher,  c.   1650 

97  The  Savant,   1653     . 

98  The  Standard-Bearer,  if) 54 

99  Portrait  of  a  Man,  1655 

100  Portrait  of  an  Old  Man,  c.  16 

101  The  Sibyl,  c.  1656  . 

102  Portrait  of  Himself,  1658 

103  Hendrickje  Stoffels,   1660 

104  The  Accountant 

105  Lucretia,   1664     .      .     . 

106  Portrait  of  a  Man,  1665 

107  Portrait  of  a  Man,  c.  1665, 

RrisuAEL,  Jacob  van 

108  Cottage  under  Trees 

109  The  Sluice     . 
I  10   Dunes  near  Haarlem 

I  1  1    Winter  Landscape     . 

I I  2  Stormy  Sea    . 
1 1  3  Woods      .... 
1 1 4  The  Forest  Stream    . 
j  1  5  The  Gnarled  Oak     . 
]  16  The  Cascade 
117  A  Waterfall   . 
1  1  8  The  Mountain  Torrent 


Ruysdaei.,  Salomon'  van 

1  19   Canal  Scene,   1640  . 

120  A  Country  Road,   1648 

121  Winter  Scene,   165-?     . 

122  Winter  near  Haarlem,   1 656 


CONTRIBUTOR 

Mr.   fohn  G.  Johnson,  Philadelphia 
Mrs.  H.  O.  Havemeyer,  New  York 
Mrs.   II.  O.  Havemeyer,  New  York 
Mr.  Herbert  S.  Terrell,  New  York 

Art  Institute,  Chicago 

Mr.  Henry  C.  Frick,  New  York 

Mr.  J.  Pierpont  Morgan,  New  York 
Mr.  P.  A.  B.  Widener,  Philadelphia 
Mr.  George  J.  Gould,  New  York 
Mr.  P.  A.  B.  Widener,  Philadelphia 
Mrs.  Collis  P.  Huntington,  New  York 
Mr.  George  J.  Gould,  New  York 
Mr.  James  Ross,  Montreal 
Mr.  W.  A.  Slater,  Washington 
Mr.  Theo.  M.  Davis,  Newport 
Mr.   Henry  C.  Frick,  New  York 
Mrs.  Collis  P.  Huntington,  New  York 
Mr.  Charles  M.Schwab,  New  York 
Mr.   M.  C.  D.  Borden,  New  York 
Metropolitan  Museum  of  Art 
Metropolitan  Museum  of  Art 


Mr.  J.  Pierpont  Morgan,  New  York 
Mrs.   fohn  W.  Simpson,  New  York 
Mr.   W.  A.  Slater,  Washington 
Mr.  John  G.  Johnson,  Philadelphia 
Mr.   James  Ross,   Montreal 
Senator  W.   A.   Clark,  New  York 
Metropolitan  Museum  of  Art 
Mr.  Robert  W.  de  Forest,  New    V: 
Mr.    M.  C.  I).  Borden,  New  York 
Mr.  Henry  C.   Frick,  New  York 
Mrs.  Collis  P.  Huntington,  New  York 

Mrs.  Morris  K.  Jesup,  New  York 
Metropolitan  Museum  of  Art 
Metropolitan  Museum  of  Art 
Mr.   P.  A.  B.  Widcner,  Philadelphia 


.56 


LIST     OF     ARTISTS 


ARTIST 

Steen,  Jan 

123    Kermesse 

I  24  Grace  before  Meat 

125  The  Dancing  Couple,  1663 

126  The  Merrymakers  . 

127  The  Drained  Cask 

Terborch,  Gerard 

128  The  Guard-Room,   1658  . 
I  29   Lady  Pouring  Mine     . 
130   Portrait  of  a  Young  Man 

1  3 1    Portrait  of  a  Lady   . 

Velde,  Adriaen   VAN  DE 
132   Landscape  with  Cattle 

Velde,  Willem  van  de 

1  33    Calm  Sea 

1  34   Calm  Sea 

Vermeer,  Johannes 

t  3  5  Ladv  u  ith  Lute 

136  Ladv  Writing    . 

137  Girl  with  Water-Jug 

138  The  Music  Lesson  . 

139  Ladv  with  Guitar    . 

Yerspronck,  Jan  Cornelisz 

140  Portrait  of  a  Man   . 

Ylieger,  Simon  de 

1  4  1    Calm  Sea 

WorwERMAN,  Philips 

142  Frozen  Canal     .... 

143  Horse  Fair 


CONTRIBUTOR 

Metropolitan  Museum  of  Art 
Mr.  |ohn  G.  Johnson,  Philadelphia 
Mr.  P.   A.  B.   Widener,    Philadelphia 
Mr.  P.  A.  B.  Widener,    Philadelphia 
Mr.  Charles  M.  Schwab,  New  York 

Mr.  John  G.  Johnson,  Philadelphia 
Mr.  M.  C.  D.  Borden,  New  York 
Senator  W.   A.  Clark,  New  York 
Mr.  Henry  C.   Friek,  New  York 

Mr.   [ohn  (i.   [ohnson,  Philadelphia 

Mr.  Wm.   T.  Blodgetr,  New  York 
Mr.  M.  C.  D.  Burden,  New  York 

Mrs.  C.  P.  Huntington,  New  York 
Mr.   |.   Pierpunt    Morgan,  New   York 
Metropolitan  Museum  of  Art 
Mr.  Henry  C.  Frick,  New  York 
Mr.  John  Ci.  [ohnson,  Philadelphia 

Mr.  Wilhelm  Funk,  New  York 

Metropolitan  Museum  of  Art 


Senator  W.  A.  Clark,  New  York 
Mrs.  E.  C.  Hobson,  Washington 


l57 


P  A  I  N  T  I  N  GS     BV 

DUTCH     M  ASTERS 


LIST  OF  CONTRIBUTORS 


Chicago 


CONTRIBUTOR 

Art  Institute 
Hutchinson,  Charles   L. 
Logan,  Frank  G. 

Montreal 

Home,  Sir  William  van 


Ross,  )ames  . 

Newport 

Davis,  Theodore  M. 


New  York 

Adams,  Thatcher  M. 
Blodgett,  William  T. 


Borden,  M.  C.  D.  . 


SUBJECT  AR 

g  I    Portrait  of  a  Girl 

I  Hendrickje  StofFels?  )  Rembrandt 
26   Wilhem  van   Heythuy- 

sen Frans  Hals 

76    Portrait  of  Himself .      .  Rembrandt 


9  River  View 

25  Samuel  Ampzing 

59  The  Dunes  . 

99  Portrait  of  a  Man 

1  I  2  Storm  v  Sea 

3  Portrait  of  a  Ladv 

44  Street  in  Delft   . 

65  Sunset     . 

101  The  Sibyl    . 


61  Portrait  of  a  Man    . 

46  The  Pool     .      .      . 
56  Cavaliers  and  Ladies 
7  1  Cottage  Scene   . 

45  Bull  in  the  Street    . 

]  -3  Calm  Sea 

14  Man  Eating  Mussels 

29  Caspar  Sibelius   .     . 

47  Castle  Kostverloren 

,58 


Aelbert  Cuvp 
Frans  Hals 
Philip  Koninck 
Rembrandt 
Jacob  van  Ruisdael 

Ferdinand  Bo] 
|an  van  der  He\  den 
Aert  van  der  Neer 
Rembrandt 

Nicolaes  Maes 
Meindert  Hohbema 
Pieter  de  Hooch 
Isack  van  Ostade 
Van  der  Heyden 
Willem  van  de  Velde 
Aelbert  Cm  p 
Frans  Hals 
Meindert  Hobbema 


LIST     OF     COXTRI1IU  T  O  R  S 


New  York  (Continued) 


CONTRIBUTOR 

Borden,  M.  C.  D. 


Bushnell,  Charles  E. 
Clark,  Senator  W.  A. 


Dickerman,  W.  B.  . 
Forest,  Robert  W.  de 

Frick,  Henry  C. 


Funk,  Wilhelm  . 
Gould,  George  J. 


Havemeyer,  Mrs.  H.  O. 


Hermann,  Ferdinand     . 
Hirsch,  Leon 
Historical  Society     . 
Huntington,  Mrs.  C.  P. 


57 
105 
116 
129 

'3+ 

6 

18 

•9 

"3 

142 

130 
10 
43 

1  IS 


28 

49 

92 
102 

H7 

>3' 

.38 
i+o 
1  1 
52 
95 
98 

88 
89 

53 
66 

73 
84 

35 

36 
37 


SUBJECT 

The  Music  Party   . 
Lucretia       .... 
The  Cascade     . 
Lady  Pouring  Wine 
Calm  Sea     .... 
The  Ford    .... 
Village  in  the  Dunes    . 
View  of  Rhenen     . 
View  ot  Dordrecht 

Woods 

Frozen  Canal     . 
Portrait  ot  a  Young  Man 
Milking-Time  . 
Portrait  of  a  Ladv  . 
The  Gnarled  Oak 
The  Maas  near  Dor- 
drecht      .... 
Portrait  of  an  Artist 
Cottage  among  Trees  . 
Portrait  of  a  Young  Man 
Portrait  of  Himself 
A  Waterfall       . 
Portrait  of  a  Lady 
The  Music  Lesson 
Portrait  ot  a  Man 
Milking-Time  . 
Road  in  the  Woods 
Study  of  an  Old  Man 
The  Standard-Bearer 

The  Gilder  Herman 

Doomer  . 
Portrait  of  an  Old 

Woman    . 
The  Visit    . 
Moonlight   . 
Cattle  in  Pasture 
Portrait  of  a  Man 
Piping  Shepherds 
Portrait  of  a  Man 
Dorothea  Berck 
Balthasar  Coymans. 

1  59 


ARTIST 

Pieter  de  Hooch 
Rembrandt 
Jacob  van  Ruisdael 
Gerard  Terborch 
Willem  van  de  Velde 
Nicolaes  Berchem 
Aelbert  Cuyp 
Jan  van  Goyen 
Jan  van  Goyen 
Jacob  van  Ruisdael 
Philip  Wouwerman 
Gerard  Terborch 
Aelbert  Cuyp 

Bartolomaeus  van  der  Heist 
Jacob  van  Ruisdael 

Aelbert  Cuyp 
Frans  Hals 
Meindert  Hobbema 
Rembrandt 
Rembrandt 
Jacob  van  Ruisdael 
Gerard  Terborch 
Johannes  Vermeer 
[an  Verspronck 
Aelbert  Cuyp 
Meindert  Hobbema 
Rembrandt 
Rembrandt 

Rembrandt 

Rembrandt 
Pieter  de  Hooch 
Aert  van  der  Neer 
Paulus  Potter 
Rembrandt 
Aelbert  Cuyp 
Frans  Hals 
Frans  Hals 
Frans  Hals 


I    II  E      II  U   I)  s  o  X  -  F  U  I.  T  o  N      C  E  I.  E  K  R  A   J'  1  o  N 


New    York   (Continued) 

CONTRIBUTOR 

Huntington,  Mrs.  C  I'.       97 
103 

118 

'35 

Jesup,  Mrs.  Morris  K.         27 
82 

83 


Metropolitan  Museum 
of  Art       .... 


Morgan,  J.  Pierpont 


■7 
22 
40 

4' 
42 

63 

67 

68 

106 

107 

"4 
1 20 

!  2  I 
I23 

'37 
■4' 

1  2 

20 

2  1 
3° 
3' 

33 
34 
5' 
48 

64 

74 
77 

93 
108 


SUBJECT 

The  Savant 

Hendrickje  Stoffels 

The  Mountain  Torrent 

Lad}1  w  ith  Lute 

Portrait  of"  a  Man   . 

Portrait  of  a  Young  Man 

Portrait  of  a  Young 

Woman   . 

Canal  Scene 

I 
View  of  Rlienen     . 

The  Smoker 

Portrait  of  a  Lady  . 

Portrait  of  a  Man    . 

Portrait  of  a  Man    . 

The  Music   Lesson 

The  Farrier 

The  Old   Fiddler     . 

Portrait  of  a  Man  . 

Portrait  of  a  Man  . 

The  Forest  Stream 

A  Country  Road    . 

Winter  Scene   . 

Kermesse 

Girl  \\  ith   Water-Jug 

Calm  Sea 

Landscape  with  Figures 

and  Cattle     . 

Children  Playing  Card 

Girls  with  Cat 

Michiel  de  Wael     . 

Portrait  of  a  Lady  . 

Heer  Bodolphe 

Vrouw  Bodolphe    . 

Trevor  Landscape  . 

Holford  Landscape 

A  Visit  to  the  Nursen 

Portrait  of  Himself 

Nicolaes  Ruts    . 

\  Young  Painter    . 

Collage  under  Trees 

1  60 


ARTIST 

Rembrandt 

Rembrandt 

Jacob  van  Ruisdael 

Johannes  Yermeer 

Frans  Hals 

Rembrandt 

Rembrandt 

Salomon  van  Ruvsdael 

Jan  van  Goven 

Frans  Hals 

Frans  Hals 

Frans  Hals 

Bartolomaeus  van  der  Heist 

Gabriel  Metsu 

Aert  van  der  Neer 

Adriaen  van  Ostade 

Rembrandt 

Rembrandt 

[acob  van  Ruisdael 

Salomon  van  Ruvsdael 

Salomon  van  Ruvsdael 

Jan  Steen 

fohannes  Yermeer 

Simon  de  Ylieger 

Aelbert  Cuyp 

Dirk  Hals 

Dirk  Hals 

Frans  Hals 

Frans  Hals 

Frans  Hals 

Frans  Hals 

Meindert  Hobbema 

Meindert  Hobbema 

( iabriel  Metsu 

Rembrandt 

Rembrandt 

Rembrandt 

[ai  no  van    Ruisdael 


LIST     OF     CONTRIBUTORS 


New  York.  (Continued) 

CONTRIBUTOR 

Morgan,  J.  Pierpont 
Mortimer,  Richard  . 
Schwab,  Charles  M. 


SUBJECT 

136   Lady  Writing    . 
85    Marquis  d'Andelot 
39   Portrait  of  a  Man   . 

104  The  Accountant 

125   The  Drained  Cask 
I  3   Landscape  with  Bridge 

109   The  Sluice  .... 
23    Singing  Boys 
80  Saint  John  the  Baptist  . 
Terrell,  H.  L.    .      .      .      90   Portrait  of  Himself 
Vanderbilt,  W.  K.  .     .      79  The  NoHe  Slav      .     . 


Simpson,  Mrs.  John  W. 
Smith,  Charles  Stewart 


ARTIST 

Johannes  Vermeer 

Rembrandt 

Frans  Hals 

Rembrandt 

Jan  Steen 

Aelbert  Cuyp 

Jacob  van  Ruisdael 

Frans  Hals 

Rembrandt 

Rembrandt 

Rembrandt 


Philadelphia 

Mrs.  William  L.  Elkins 


Johnson,  John  G. 


Widener,  P.  A.  B. 


2  Still  Life      .... 

50  Wooded  Road  . 

72  Barnyard  Scene 

5  Marine 

1  5  Cock  and  Hens 

I  6  Peaches        .... 

58  Still  Life       .... 

60  The  Gay  Cavaliers 

62  Old  Woman 

86  The  Finding  of  Moses 

87  Slaughtered  Ox 

I  1  1  Winter  Landscape  . 

124  Grace  before  Meat 

128  The  Guard-room     . 

132  Landscape  with   Cattle 

139  Lady  with  Guitar   . 

4  Winter  Scene   . 

32  Portrait  of  a  Man   . 

38  Isabella  Coy  mans  . 

54  Woman  and  Child  in 
Courtyard 

5  5  The  Bedroom   . 

69  The  Cottage  Dooryard 

70  The  Halt     .... 

81  Saskia 

94  Portrait  of  Himself 

96  A  Philosopher  . 

l6l 


Abraham  van  Beveren 
Meindert  Hobbema 
Paulus  Potter 
Jan  van  de  Capelle 
Aelbert  Cuyp 
Aelbert  Cuvp 
Willem  Kal'f 
Judith  Leyster 
Nicolaes  Maes 
Rembrandt 
Rembrandt 
Jacob  van  Ruisdael 
Jan  Steen 
Gerard  Terborch 
Adriaen  van  de  \  elde 
Johannes  Vermeer 
Jan  van  de  Capelle 
Frans  Hals 
Frans  Hals 
Pieter  de  Hooch 

Piete    de  Hooch 
Adriaen  van  Ostade 
Isack  van  Ostade 
Rembrandt 
Rembrandt 
Rembrandt 


1    II   I       II   I    D  SON-  F  U  I.  T  0  N      ('  E  L  E  15  R  A  T  I  O  N 

Philadelphia  i  Continued) 


CONTR IBUTOR 

Widener,  P.  A.  B. 


Toledo 
Libbey,  E.  D.    .      . 

Washington 
Hobson.  Mrs.  E.  C. 
Slater,  W.  A.     .      . 


Anonymous 


SUBJECT  ARTIST 

122    Winter  near  Haarlem   .  Salomon  Ruvsdael 

126  The  Darning  Couple  .  [an  Steen 

127  The  Merrymakers.      .  [an  Steen 


24   Bov  plaving  a  flute 
75    Portrait  of  Himself 


Frans  Hals 
Rembrandt 


Philip  Wouwerman 


1  43    Horse  Fair  . 

100   Portrait  of  an  Old  Man    Rembrandt 

1  10   Dunes  near  Haarlem         Jacob  van  Ruisdael 


78    Portrait  of  a  Man  Rembrandt 


New  York 

Altman,  Benjamin 


ADDENDA 


22a   The  Merrv  Company    Frans  Hals 
104B   Portrait  ot  a  Young 

Man Rembrandt 

1 07 a   Titus  the  Son  ot 

Rembrandt    .      .      .     Rembrandt 
107B   Magalena  Van  Loo, 

Wife  of  Rembrandt's 

Son  Titus      .      .      .    Rembrandt 
1  1  2a   Cornfields  ....     Jacob  van  Ruisdael 
1 37*   Girl  Sleeping   .      .      .    Johannes  Vermeer 


[62 


GETTY  CENTER  LIBRARY 


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